Color grading the F35

Here is another screencast on some of my shots from the other day. It looks at using the sLog to Cineon and the ArriC to Rec709 LUTs in conduction to a YRGB adjustment. It will take you to a base point from where you can take the grade in any direction....

 
Very nice video, thewakeplace!
As you mention towards the end, a breakdown of other luts like Osiris would be a wonderful resource as well!
 
mlysbakken said:
Where you put them in the chain, for instance, and what (if any) lut you place after them. Thanks :)
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I got them and this is what I've managed to decypher so far...

I use an Osiris LUT in the final node of the grade or as an Output 3D LUT in the project settings. The various Osiris LUTs come in two flavors, LOG and Rec709. Which one I use is determined by the format of the footage.

If I shot with the Hypergammas I put the Rec709 version of the Osiris LUT in the final node of a grade. I've only briefly tested this as I typically shoot sLog for all my work.

If I shot with sLog, I put the slog_to_cineon10 LUT as an input LUT to convert the footage to cineon space, then I use the LOG flavor of the Osiris LUT in the final node. According to the Osiris folks the LOG version of the Osiris LUTs are suitable for any log footage, but I know that every camera manufacturer has a different flavor of log. To my eye it I find I have to do less correcting if I first convert the footage to cineon space.

I don't have a video (I may make one later), but the Osiris folks have one that prett much shows the same thing (plus installation, etc.)
https://vimeo.com/74708717
 
Thanks for sharing your workflow! I'm shooting FS700 to Odyssey 7Q, so it's a reasonably similar workflow. I will look in to your workflow and see how close the FS700 S-log2 matches F35 SLOG.

It also helps that your actress is quite lovely and VERY photogenic.
 
Just got done with some sunset shooting, that also went into the night....

I have a rehersal session tomorrow for this feature of ours, and from all the footage i will put together another grade video that ashows the Osiris LUTs too! Stay tuned
 
Another night test in prep for a short film shoot this weekend. The only light was a 2k Fresnel, which was about 10 feet away run through a 3x5 diffuse. The light meter read f4.5 for the key.

No bounce on this shot. Taken at f4. B&W just because.

night_2k_test_BW.jpg

This shot had a white bounce fill card about 4 or 5 feet away. Shot at f3.5. Osiris M31 Log LUT straight out of the box applied to the sLog with no input LUT whatsoever. The contrast ratio is a bit too soft for what I want for this project, but it's an easy fix with the bounce.

night_2k_test_M31.jpg

Tomorrow I'll try to post a video test with different exposures & grade, as well as a few BTS phone camera images of the lighting set up. I know some folks have been asking for more details about shooting with this camera at night. It's not as simple as grab and record like a C300 on ISO 6400, but it's also not terribly difficult, slow or expensive to get decent results if you know what you want. But I'm not a doco, event or corporate shooter- I only deal in narrative, so for me taking 15 minutes to get a lighting set up together is worth the effort.
 
keithlango said:
Tomorrow I'll try to post a video test with different exposures & grade, as well as a few BTS phone camera images of the lighting set up. I know some folks have been asking for more details about shooting with this camera at night. It's not as simple as grab and record like a C300 on ISO 6400, but it's also not terribly difficult, slow or expensive to get decent results if you know what you want.
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Thanks Keith. I'm looking forward to it. This would be very helpful!



keithlango said:
But I'm not a doco, event or corporate shooter- I only deal in narrative, so for me taking 15 minutes to get a lighting set up together is worth the effort.
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Sure. The problem is not taking the time or committing to the effort. It's about budget. Shooting interiors? Definitely light! No two ways about it. Shooting exteriors is not so easy. Do you have the budget to light a whole street? If the camera is sensitive enough to expose the background you can get way with keying the talent in the foreground for example and getting the shot.
 
I understand your questions, I think. And they match my own when I committed to shooting a film set at night. I'm still doing tests this week. I'll have loads of footage after this weekend- footage that will perhaps be very much in the scenario you define here. Street lights, keyed talent- what do we see? With fast glass it will pick up quite a lot of the background. In the scene I posted above I actually had to flag off the wall behind me (the black on the right side of the image) so that I could get the black that I wanted there. I don't have a ton of money in lights & modifiers, either. Less than $1000 total. No nothing, but not insanely pricey, either. I'll try and post some footage when I can, but it's a pretty crazy busy time for me right now.
 
i seldom post up and rely on my google skills to find stuff but im completely stumped trying to find the macgregor LUTs that used to be on the 1st posts dropbox links. im a new f3 owner and really wanting to find a nice starting point to grade the slog footage but have come up empty finding a current link to the files. mainly the slog to rec709 and the slog to cineon input lut, hoping someone may have the files available and i can host the files for the future on either my dropbox or google drive.

Thanks in advance :)
 
I personally wouldn't use those luts, those are from long ago before slog was supported very well. I would recommend using either the colorspace transform or ACES instead, if you are using Resolve.
 
In Reaolve CST sgamut/slog to Arri logC add the resolve Arri to rec709 LUT and you have a great starting point. Alexa Luts tend to be very good. Both technical and creative. Add it in the timeline.
 
THanks guys, il have a read up on what aces is, also il try some of the options youve all put forward, thankyou again for the help!
 
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