A7s sample footage
- Thread starter squig
- Start date
Yes, it would nice to see some non-struggles with s-log and gamut and just come up with simple settings for folks that just need to work in a variety of normally lit situations. As several people noted, maybe s-log should hold off for 4k. I'd like to see a custom PP that doesn't utilize slog and works well.
^^^ Completely agree with this. I have a shoot early next month and had no intensions of using s-Log.
I wish someone capable, with a little extra time on there hands would develop non-slog profile that doesn't aggravate skin tones, and looks natural in most lighting conditions. Something with a little gradability in the end too!!
Thanks, someone =]
cyork
Well-known member
Neutral looks great. You actually increase DR by dialing back the contrast, you can bump saturation a bit and take down the detail to -3. Looks incredibly natural with no tweaks required if you want an less punchy look. Standard looks great. PP2 is good. PP6 is really wide but is also flat. I think once you grade these other ones back, you're back in Standard again. Just have to bring back the superwhites and you're good. I'd be this camera is at least 11.5 out of the box if not 12 in using Neutral. That's not bad at all if the highlights roll off nicely which I think they do.
reem12
Veteran
Cyork quick question, and anyone else can chime in on thus. First, I love slog 2 when its handled properly and from my tests i'm not really having issues with exposing this thing and getting nice results although everything i've tested thus far has been outside. So back to my question. Do you think if we wanted to switch around to the other profiles on the a7s it would still have a wider dr tha the gh4 in cinema d mode? Now keep in mind that the gh4 has also had its own set of color issues (orange) skin tones when not exposed properly in it's widest dr mode being cinema d.
cyork
Well-known member
Good question. From what I can see, it's once you add back contrast to Cine D, the A7s in Neutral (or even Standard) seems to be really similar, leaning better for DR. I feel like at the very least, sans Slog2, you'd have the same amount DR in Standard mode to play with than the GH4, even in Cine D. Flattening the GH4's contrast didn't really increase the DR whereas the Sony (according to zebras) does from what I've tested. So if you flatten Standard or Neutral, and from what I can see of my old GH4 footage, the Sony still has the advantage. Wish I had a side by side....
This is the A7s, stark daylight shot in Standard, nothing done other than correcting superwhites and black clipping. I exposed three different ways and this was the "hottest" exposure made by eyeballing it to protect highlights (challenging myself).
Great color results with Standard, I think. Less hassle and nice contrast.
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strancali
Well-known member
I can't seem to find it either guys but it was mentioned in this video https://vimeo.com/101024656. Matt (I DO Films) customized James Miller's settings a bit to his personal taste below.
"This is actually the exact profile I used, which is a slightly modified version of James's profile:"
Black Level: +10
Gamma: Cine2
Black Gamma: Wide, +5
Knee: 75%, -1
Color Mode: Cinema
Saturation -1
Color Phase +1
Color Depth: R+6, G-4, B+2, C+1, M+1, Y-1
Detail: Level…+4, Adjust…B/W Type3, Limit 7
"This is actually the exact profile I used, which is a slightly modified version of James's profile:"
Black Level: +10
Gamma: Cine2
Black Gamma: Wide, +5
Knee: 75%, -1
Color Mode: Cinema
Saturation -1
Color Phase +1
Color Depth: R+6, G-4, B+2, C+1, M+1, Y-1
Detail: Level…+4, Adjust…B/W Type3, Limit 7
Erik Naso
Veteran
+ 1.5 stops is working with Slog2. It's a little scary because it looks horrible in the camera but it's all their in post. Pretty cool. I also used a secondary to fix the LCD screens. They are way off and it drives me crazy that the whites are greenish.
This shot doesn't require log but I'm playing. :-D
Give it a try for yourself before you slam it. It doing multiple adjustments in a way that I haven't seen in any other program. It's doing quite a few things at once to keep the curve just right.
squig
Veteran
Filmconvert is very good, been using it for ages with the 5D. I hope they get the A7s S-log profile out asap, the A7s S-log is not the same as the F55 S-log but it does kinda work. In Resolve I'm just making an s-curve and then I use the default profile in Filmconvert which works better. I think my FCPX days are just about over, I've been testing it for grading vs Resolve and FCPX is wrecking the image because everything is crushed into a REC709 colour space.
cpc
Well-known member
It is quite trivial to make an OFX plugin for Resolve that manipulates exposure on log footage while preserving the internal relations in the signal (unlike using any of the correction sliders).
Example workflow:
1) overexpose all footage 1 stop;
2) use the plugin to bring footage down 1 stop (mathematically correct);
3) apply any LUT expecting s-log2 source; it will work as expected.
So does anyone know a source with the s-log2 formula used by the a7s? There is one floating the internet but it is from the F65/55 cameras, I believe.
Example workflow:
1) overexpose all footage 1 stop;
2) use the plugin to bring footage down 1 stop (mathematically correct);
3) apply any LUT expecting s-log2 source; it will work as expected.
So does anyone know a source with the s-log2 formula used by the a7s? There is one floating the internet but it is from the F65/55 cameras, I believe.
squig
Veteran
There's a test on vimeo featuring the A7s, F55, F3, F700, all shooting S-log. None of them look identical which is why I don't rely on any LUTs made for the other cameras. I'm a Resolve noob, but I have been using photoshop for over 20 years. Making an s-curve and making adjustments with lift gamma gain seems to work pretty well.
cpc
Well-known member
You can save any adjustment in Resolve as a 3D LUT.
So the point is any LUT made for some exposure would be redily reusable with different exposure if the exposure translation is done correctly. Also, output is not limited to s-log2, it is equally trivial to output cineon log or whatever.
So the point is any LUT made for some exposure would be redily reusable with different exposure if the exposure translation is done correctly. Also, output is not limited to s-log2, it is equally trivial to output cineon log or whatever.