eddavid
Carbonite Member
Said it is in this article. Great article by the way
https://www.provideocoalition.com/non_technical_f35_guide/
https://www.provideocoalition.com/non_technical_f35_guide/
F35: Digital praxis better than slog?
- Thread starter eddavid
- Start date
I think much of the advice in that article doesn't apply today. It's also riddled with technical inaccuracies. Art Adams writes in the comments that he doesn't know where to get the Digital Praxis curves anymore.
Here's what I'd say. This advice largely applies to newer XDCAMs and CineAlta cameras too:
If you want to capture the entire dynamic range and gamut that the camera is capable of producing, which enables delivery for SDR or HDR, shoot in S-Log/S-gamut. Then use a color managed workflow in post. The potential benefits of those Digital Praxis curves go away when you use a color managed workflow.
If you can't or don't want to use a monitoring LUT for S-Log or you want to be able to preview with less difficulty, shoot in a HyperGamma. You can use a color managed workflow for HyperGammas, or do simple color correction just adjusting levels by hand. HyperGammas 7 and 8, for example, have dynamic range comparable to S-Log. I'm not sure offhand if the F35 lets you use a HyperGamma in combination with S-Gamut.
And always, test, test, test. Every camera has its quirks, and colors get rendered differently depending on what settings you choose and workflow you use. When I had an F3, for example, I found that S-Gamut rendered colors horribly. The camera did much better using a standard gamut along with S-Log or a HyperGamma. No idea if the F35 suffers from the same problem.
Here's what I'd say. This advice largely applies to newer XDCAMs and CineAlta cameras too:
If you want to capture the entire dynamic range and gamut that the camera is capable of producing, which enables delivery for SDR or HDR, shoot in S-Log/S-gamut. Then use a color managed workflow in post. The potential benefits of those Digital Praxis curves go away when you use a color managed workflow.
If you can't or don't want to use a monitoring LUT for S-Log or you want to be able to preview with less difficulty, shoot in a HyperGamma. You can use a color managed workflow for HyperGammas, or do simple color correction just adjusting levels by hand. HyperGammas 7 and 8, for example, have dynamic range comparable to S-Log. I'm not sure offhand if the F35 lets you use a HyperGamma in combination with S-Gamut.
And always, test, test, test. Every camera has its quirks, and colors get rendered differently depending on what settings you choose and workflow you use. When I had an F3, for example, I found that S-Gamut rendered colors horribly. The camera did much better using a standard gamut along with S-Log or a HyperGamma. No idea if the F35 suffers from the same problem.
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Alright, then scratch S-Gamut. S-Gamut seems to have problems on several Sony cameras. S-Gamut3 and S-Gamut3.Cine are fine on the newer cameras that have them.
That leaves you with S-Log, HyperGamma 7, or HyperGamma 8, with the F900 or F900R color space setting. When you use a standard gamut instead of S-Gamut, you can color correct S-Log by hand, but I don't recommend it. A color-managed workflow with support for S-Log will make your life a lot easier. Resolve's ACES implementation does not support S-Log1. Resolve's color management does support S-Log1 without S-Gamut. Logarist does too. Logarist also supports HyperGamma 7 and 8. Those HyperGammas have almost the same highlight range as S-Log, making them suited for HDR delivery as well as SDR, although without the wide gamut if you can't use S-Gamut. I'm quite partial to the HyperGammas. Being closer to BT.709, they make previewing easier. When you process HyperGammas in a color-managed workflow, you get all the same benefits as S-Log.
I hope you can find yourself a nice F35. I know 4k is all the rage now, but I prioritize color, and some of these older cameras really deliver.
That leaves you with S-Log, HyperGamma 7, or HyperGamma 8, with the F900 or F900R color space setting. When you use a standard gamut instead of S-Gamut, you can color correct S-Log by hand, but I don't recommend it. A color-managed workflow with support for S-Log will make your life a lot easier. Resolve's ACES implementation does not support S-Log1. Resolve's color management does support S-Log1 without S-Gamut. Logarist does too. Logarist also supports HyperGamma 7 and 8. Those HyperGammas have almost the same highlight range as S-Log, making them suited for HDR delivery as well as SDR, although without the wide gamut if you can't use S-Gamut. I'm quite partial to the HyperGammas. Being closer to BT.709, they make previewing easier. When you process HyperGammas in a color-managed workflow, you get all the same benefits as S-Log.
I hope you can find yourself a nice F35. I know 4k is all the rage now, but I prioritize color, and some of these older cameras really deliver.
eddavid
Carbonite Member
Color and highlight handling and motion is very important.
Saw this cool shoot out Zacuto did with F35, alexa, red, and kodak 35mm film.
Really interesting.
https://vimeo.com/24334733
Steve Shaw of Light Illusion designed the Praxis curves. Still available on his site for $99. I ordered them a few months back out of curiosity. 4 different sets of curves available. I think they are fun to explore. Logarist is very worthwhile, especially considering its free. Nice for the F35 slog/sgamut. Thanks for your hard work Jacob!!
yes. to f900R. I ended up preferring sgamut, but that might just be me. Its been over a month since I compared, so unfortunately the differences are not fresh in my mind. I Frequent LGG and after reading through some of your posts over came my skepticism and finally decided to give your work a try. Glad I did!
If I'm not wrong somebody posted an ACES workflow for the F35 here and I'm pretty sure it was based around Resolve.