Consensus on Sony A7SII Picture Profiles

OK. Thank you for the LUT's.

I tried a couple. Like them so far.

Thanks.

Btw, the Austrailian Sony link is not working at the moment. I'll check with the Sony link from Zimbabwe.
 
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Ben Scott said:
No worries. All the best with them. Actually the PDFs in the Sony link have some decent info as well.
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Curious, owning the A7S MkII as you do -- are you actually shooting SLog2/SGamut -- or SLog3/SGamut3.Cine?

My understanding from numerous posts on this forum (and others) is that the issues with SGamut were worth avoiding, and that SLog3 presented unavoidable banding in 8-bits.

Not that everyone doesn't have their own opinion, but I had thought the consensus was that the 'sweet spot' setting for shooting log on the A7S MkII was SLog2 / SGamut3.Cine.
 
More often than not I am using it as a b-cam to my FS7 which I pretty much exclusively shoot slog3 so would rather it matched. Recently filmed in Milan for the UEFA Champions League finals and a base ISO of 1600 was a dealbreaker even with ND so changed the gamma to cine4, got back ISO 200 and matched saturation and contrast to the delogged FS7 footage v quickly with the scopes in Premiere for fast turnaround stuff.

Trying to to use it more in its own and so looking for the sweet spot but if I shoot log I follow the process properly, instead of treating it like a flat DSLR profile.

Am thus far always in sgamut.cine whatever gamma setting.

Exposing 90% white at 75IRE instead of Sony's recommended 61 or 62 and then compensating in post has also thus far yielded good results.
 
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That explains it. You're shooting with an FS7 in slog3 10-bit and so you would have those LUT's for your work. The s-log 3 gamma in the A7sII 8-bit codec is practically unusable. LUTs with s-log2 8-bit are barely usable--maybe that's why Sony doesn't promote them. But I'll trade a little damage for good skin tones and good filmic color.
 
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So, anyone try these LUTs with 8 bit Sony footage? Thoughts?

So far I like #3: "3.From_s-log2-sgumut_to_slog2-709.cube"

Less contrasty, less dark. Decent skin tones. Just ok. But there's a lot of color noise.

This is meant for 10 bit stuff.
 
Any LUTS out there for Sgamuet.cine with SLOG 2? I've started experimenting with different colour spaces. I love what i'm able to get from regular sgamut but want to see if s gamut3.cine improves on that.
 
Would be interested to try out and test some LUTs for SLOG2/S.Gamut3.Cine if anyone is willing to share them? Just got my A7Sii last month and just trying to figure out the best methods to match my FS7 well...
 
Me: one stop over, unless there's some reason to do it differently (yesterday I couldn't overexpose at all because the background was too bright and would clip).
 
I use Leeming LUT's ETTR method: set zebras to the clipping point of your Picture Profile, then use that to determine what stays and what gets thrown out. Ideally with a ColorChecker card, but still very usable without. I also have Gamut Assist on for S-Log2/3 to help judge the general exposure. This way I can control both noise and clipping while getting a good idea of the final exposure.
 
how bad is slog3 with the a7s mk2 8bit?
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It's manageable. I personally don't think I would use it without a good noise reduction plug-in though. At first I didn't like slog3 but now I can't live without it.

I cheat and do a lot of in-camera adjustments so I don't have to grade too much.

I then add a LUT that transforms the colors to a more filmic look. This adds color noise that I take out with Neat video.

To avoid banding in skies and blank walls etc. I lower the contrast and increase saturation to compensate.
 
On the "real video cameras", slog3 gives you a lot more DR than slog2, but that is not the case on the a7S II. And with no DR advantage, I see no point in using slog3 (unless you're using the a7S II as B-cam to, say, an FS7).
 
I didn't do a scientific test with DR on Slog2 vs. Slog 3 on the a7sII. I just see the lows are more defined and the highs are captured more without harshness and clipping--the light bulb in the room test. It's obvious.
 
I haven't touched an a7S II, I'm just transmitting what I read here.
In theory, slog3 should have a lot more headroom in the highlights and also cleaner shadows, at the cost of more banding in the mids. But on the a7S II it seems the white clipping point doesn't change at all. So you may get some improvement in the shadows, and all the cost in the midtones. Whether that's a good tradeoff or not, is quite subjective.
 
I haven't touched an a7S II, I'm just transmitting what I read
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here.
In theory, slog3 should have a lot more headroom in the highlights and also cleaner shadows, at the cost of more banding in the mids. But on the a7S II it seems the white clipping point doesn't change at all. So you may get some improvement in the shadows, and all the cost in the midtones. Whether that's a good tradeoff or not, is quite subjective..
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In theory...
 
@Blue Bomber and others, it'd be useful to see Picture Profile clipping levels, in order to set zebras to reflect exposure correctly for that profile.

For S-log2 (A7RII), I was setting zebras at 70%, but while adjusting exposure, I'd see zebras in the hotter highlights, and then as I adjust exposure (open the iris), instead of seeing more stripes, they'd disappear (and blown highlights would be fairly obvious)...a bit counterintuitive.

Any thoughts or techniques for this? (I wish there was Gamma Assist on the A7RII...it's challenging to see focus peaking in low-contrast PP7).
 
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