cpc
Well-known member
$3-4k.
A7s sample footage
- Thread starter squig
- Start date
Here is a same day edit that utilized 2 C100s and an A7s with EF glass. Only had 2 hours after the ceremony to put the edit together so some of the colors are a bit off. The A7s produces more green in its footage and as a result, I'd remove more green from the highlights in the future.
Film Convert 2 and Impulz were used to color correct and grade.
nyvz
Veteran
https://vimeo.com/groups/mfisummer14
Half these were shot on FS700+7Q and the other half on Sony A7S. All SLOG2, can you tell which is which? The films were each shot in 4 hours and grading/sound done in even less time. I used the Impulz LUTs for a most of the ones I shot.
Half these were shot on FS700+7Q and the other half on Sony A7S. All SLOG2, can you tell which is which? The films were each shot in 4 hours and grading/sound done in even less time. I used the Impulz LUTs for a most of the ones I shot.
Yeah unfortunately was a wedding so there's only so much control. I was shooting using kholis pp6 profile so I didn't have as much flexibility with recovering highlights.
reem12
Veteran
My guess would be every clip that exibits a green hue would be the a7s. all footage that I see shot with this and s gamut, unless tweaked seems to have it. not really pleasant to look at, and it seems to cause gradation of the footage when trying to remove it, especially on white surfaces.
I called sony about this today to see if they are aware of this issue, and they've said they have not heard of it. I've not really had this issue with koli's profile but I do tend to like the look of the s gamut minus the ugly green it produces in the footage.
Indeed puzzling that Sony would release the A7S with the green issue and then not be aware of the problem given all the online examples and comments. If the problem is with Premiere Pro or FCPX (the two most popular NLE's currently), perhaps updated profiles could be made to address the issue (or at least let us know how to process Slog2 and avoid the green issue). Does the green issue occur with Resolve 11?
cyork
Well-known member
What "green issue"? S Gamut? If anyone is struggling with that, change color mode to pro or rec709. The wedding footage looked fine to me. You could probably recover more from the highlights but hey, you don't get to light events how you want them. You can expect to blow highlights. Comes with the territory.
cyork
Well-known member
What "green issue"? S Gamut? If anyone is struggling with that, change color mode to pro or rec709. The wedding footage looked fine to me. You could probably recover more from the highlights but hey, you don't get to light events how you want them. You can expect to blow highlights. Comes with the territory.
ejdge, Nice job on the wedding film. I liked the look. Moody, punchy.
ejdge, Nice job on the wedding film. I liked the look. Moody, punchy.
cyork
Well-known member
I don't have a scientific answer but I don't see much of anything being tossed. It's just remapping color from what I can see. Reds are red, blues are blue etc. Not as much balancing needed in post for sure. After I correct sgamut footage for white balance and adjust sat, it looks pretty good. Seems even the F55 Luts "fix" the greens as if it's by design that it has that initial shift.
You will loose a lot of DR. I did a test the other day and it was a big eye opener. Of course if you're used to something like H264 on a Canon 5dIII you'll be surprised how much DR there is on the a7S in standard mode!! =]
I also tried PP5 with Cine1 and Movie with a little in camera saturation (mentioned by someone here)- and met right in the middle with a lot less noise than S-log. I've decided to probably go with this combo for an indoor spot I'll be shooting later next month.
reem12
Veteran
PTRush, can you share your exact settings if slightly modified?
I am not to concerned about loosing some dynamic range as I will be doing a decent amount of lighting anyway, i just find that there is a certain look slog brings interns of cinematic/texture etc that I'm not seeing out of other dslrs. If I can just get close to it I will be good. outside in daylight won't pose as much of a problem to me, I'm more referring to inside lighting.
I am not to concerned about loosing some dynamic range as I will be doing a decent amount of lighting anyway, i just find that there is a certain look slog brings interns of cinematic/texture etc that I'm not seeing out of other dslrs. If I can just get close to it I will be good. outside in daylight won't pose as much of a problem to me, I'm more referring to inside lighting.
Changing PP7 (Slog2 gamma) to a non S-gamut Color Mode (e.g. Pro or Cinema) shouldn't effect dynamic range. Can you tell us what you changed and how you tested?
cyork
Well-known member
So again, if you hate the balance and the green shift before correcting, shoot rec709, cinema or pro. Much easier to just throw a curve on and get rockin'. Check out Dave Dugdale's recent test. He said that the only color mode that nailed the actual hair color (his daughter was the model in this case) was SGamut, actually.
Reem12, the F55 LUT I'm using is the preset that you can download for FilmConvert. I also usually change the film mode to Ptra 400 which can induce a bit of green but works some magic in the mids and it's easy to shift back. If you shoot rec709 or Pro, it just looks magical straight away.
Reem12, the F55 LUT I'm using is the preset that you can download for FilmConvert. I also usually change the film mode to Ptra 400 which can induce a bit of green but works some magic in the mids and it's easy to shift back. If you shoot rec709 or Pro, it just looks magical straight away.
I wish I could be of more help, and should probably do more testing myself.
I find a slightly modified PP5, switching from cinema to movie and +2 on the saturation seemed to be the best combination for me at the moment.
Not a lot of leverage in post, but easy to deal with and not a lot of noise in most situations.
I would love to sit with an external monitor under controlled lighting, but I just don't have any extra time right now... well, except right now =]
squig
Veteran
But aren't you working in FCPX? If so you're not even seeing all the DR because FCPX automatically squashes everything into a REC709 colourspace. Everything looks much better in R11 but when you render out to quicktime/prores it gets squashed too. I output to DPX in R11 and all the colour info was preserved.
cyork
Well-known member
The scopes show what is being clipped and you just bring it back in via colorboard before doing anything else to it. I use R11 and verified that it looks the same once you adjust for it. I'll have to outputting DPX vs prores though, haven't really tested that yet.