That's weird that the screens are so green. Because the white on her top looks pretty white. Is it because the screens are a different colour temperature to the lights on the talent? Maybe the lights having a strong magenta cast making the screens go green when it is corrected? Just guessing really.
A7s sample footage
- Thread starter squig
- Start date
That's weird that the screens are so green. Because the white on her top looks pretty white. Is it because the screens are a different colour temperature to the lights on the talent? Maybe the lights having a strong magenta cast making the screens go green when it is corrected? Just guessing really.
Samuel H
Major Contributor
(We need a sarcasm font, I was being serious, an exposure slider is a very, very, very useful tool if you are shooting RAW or log)Lol, well, it is no ordinary exposure toolGive 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.
cyork
Well-known member
Ah, I failed the internet tone test.....Sorry, Samuel H! <-----not sarcasm<-----we do need a special character to make this distinction. Internet, it is time.
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Erik Naso
Veteran
With Colorista II the exposure value isnt one I use. I prefer using the three way to get it dialed in.
I just recently bought FilmConvert and will be learning how to use it. Thanks for the tip. (Not sarcasm. :-D)
Emanuel
Cross-Examiner
Here you have:
+ 15 stops (!) is working with Slog2102B, I mean, version 2101X was only +13 stops and version 2101Y +14.75 stops, so they've decided to jump immediately without passing through 2101Z...
It's a little scary because it looks horrible in the camera but it's all their in post!
PS: Erik, sorry mate to play with your post/words this time, but this one is only addressed to Samuel, our good fellow and a7S guru
E
squig
Veteran
a7s fanboy, please: I do own an a7s, but it's still in another continent and I won't get it until mid-August
I should be done grading this shot by then :badputer:
Filippo Chiesa
Well-known member
squig
Veteran
I'm starting to feel like I know what I'm doing with this camera
Vanilla S-log +4 sat -4 sharpness APS-C 20,000 ISO, ETTR 1.7 EV. Pentax K 50/1.2, R11 filmconvert F55 S-log S-gamut with some adjustments. Lit with a 20w LED camera light. I white balanced with a colormeter 2, still don't know if I can trust the A7s WB.
The sweet spot is between +1.3 and +1.7 EV +2 is great for low noise but you risk blowing out the highlights. Somebody please hack this thing for raw video.
BTW if you're using FCPX with the A7s & S-Log you're only getting a fraction of what this camera is capable of. You really need to be working in a 32bit wide gamut colour space to get the most out of this camera, same goes for the 5D raw. R11 is great.
Vanilla S-log +4 sat -4 sharpness APS-C 20,000 ISO, ETTR 1.7 EV. Pentax K 50/1.2, R11 filmconvert F55 S-log S-gamut with some adjustments. Lit with a 20w LED camera light. I white balanced with a colormeter 2, still don't know if I can trust the A7s WB.
The sweet spot is between +1.3 and +1.7 EV +2 is great for low noise but you risk blowing out the highlights. Somebody please hack this thing for raw video.
BTW if you're using FCPX with the A7s & S-Log you're only getting a fraction of what this camera is capable of. You really need to be working in a 32bit wide gamut colour space to get the most out of this camera, same goes for the 5D raw. R11 is great.
squig- this image looked green on my iPhone 5S, MBP, Samsung HDTV, and Dell 3007 monitor. Using Auto WB in PPro Camera Raw Filter then backing off a little (auto-adjustment went a bit blue):
Bumping saturation and vibrance requires removing more green (WB and tint):
Reduced contrast and boosting shadows:
Calibrated monitors are cool; also helpful to look at images on many common devices to check color.
Bumping saturation and vibrance requires removing more green (WB and tint):
Reduced contrast and boosting shadows:
Calibrated monitors are cool; also helpful to look at images on many common devices to check color.
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cpc
Well-known member
I am curious how the cinegammas look (esp. Cine1) compared to s-log2 overexposed 1.7-2 stops. I am not sure you will be getting much (if anything) from s-log2 at 2 stops over, the cinegammas look quite flat already (the gizmodo vimeo video 3 posts above has cine1 vs cine4 vs movie vs s-log).
squig
Veteran
Yeah the Filmconvert stock I used KD P400 Ptra is quite green as are most 35mm film stocks. I did take a bit of green out of it. Totally get what ur saying about making stuff work on various devices, I use 2 screens, one is 99% sRGB, the other is only about 80%, it doesn't look great on the 80%. My focus is on making my films look good projected (with a nice REC709 file to follow). I think I might throw a cinema some money & go in there after hours to grade my film.
cpc
Well-known member
Yes, but s-log 2 stops over is exactly two stops less DR in practice because infinite shadow detail is useless. (99% of the time I am struggling to hide stuff in the shadows.)
Imo, the trade off with s-log2 overexposure is simple: less noise for less DR.
ReelWorksMedia
Well-known member
Squig, just curious for your opinion as I have been following your thread since before the A7s launch. When the specs came out at NAB I think we can all agree it was, perceivably, one of the best buys in a long time. Now that you own one...if you had all the information about the camera at its launch...it's oddities, and post production workflow that is required to make an acceptable image (especially when compared to the ease of use of their camera systems).... Would you have still purchased this camera going into it knowing what the reality is like.
I am one of the fellows who decided not to jump on board, but am curious if you think the headaches and quirkiness is worth it. I haven't stopped considering it for a possible tool in the bag and would love to know your honest overall opinion. Thanks man.
I am one of the fellows who decided not to jump on board, but am curious if you think the headaches and quirkiness is worth it. I haven't stopped considering it for a possible tool in the bag and would love to know your honest overall opinion. Thanks man.
cyork
Well-known member
I'm starting to feel like I know what I'm doing with this camera
Vanilla S-log +4 sat -4 sharpness APS-C 20,000 ISO, ETTR 1.7 EV. Pentax K 50/1.2, R11 filmconvert F55 S-log S-gamut with some adjustments. Lit with a 20w LED camera light. I white balanced with a colormeter 2, still don't know if I can trust the A7s WB.
The sweet spot is between +1.3 and +1.7 EV +2 is great for low noise but you risk blowing out the highlights. Somebody please hack this thing for raw video.
BTW if you're using FCPX with the A7s & S-Log you're only getting a fraction of what this camera is capable of. You really need to be working in a 32bit wide gamut colour space to get the most out of this camera, same goes for the 5D raw. R11 is great.
dude, this looks killer. That Ptra 400D setting works really nice if you change the color mode to Rec709 or Pro. I still want to work with Sgamut though. I feel like it balances color levels better but it needs some adjustments to ditch the green. Anyway, nice job!
cyork
Well-known member
The other cine gammas look great. Couple stops less DR is where a lot of people put their grades anyway, so I haven't been shy to use it. The cine2/cinéma looks nice. Cine3 and cinema is also nice for a better SOTC look. You can change cinema to Pro and get a little more life in the reds and it pinkens up the skin a bit more too. Basically, even shot standard movie gamma (standard mode) looks like GLOG on the FS100 thanks to the better DR to work with. Standard and Neutral are fantastic for stock and prove that Sony is listening and looking at custom user profiles.
cpc
Well-known member
Well, my theory is that cinegammas (or at least the flattest of the three, I don't count cine2 cause it is legal levels, so useless when grading is expected) will be outright better than s-log2 2 stops over, due to the massively better tonal precision you gain for the approx. same overexposure latitude (when exposing for the same clipping point). So shyness isn't applicable at all, on the contrary, it should be the clever thing to do.
edit:
I haven't seen much of cine3 yet, but what's available suggests using cine1 for low contrast end result targets and when uncontrolled underexposure might happen, and cine4 for normal/heavy contrast targets.
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