C100: ETTR on C-Log

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wgtwo

Well-known member
What are people's thoughts on exposing C-Log to the right?

Seems to me like the values are very similar to those of S-Log2, and everyone said that ETTR on the A7s - another 8-bit camera - was a must. On the other hand, I'm seeing threads from years ago with people saying that it will ruin the image and destroy tonality etc.

My thinking is that C-Log, being flatter than Wide DR, would lend itself a lot better to ETTR.
 
I did an experiment a few weeks ago with ETTR in Clog. Sometimes it worked great, and sometimes I was unable to get the result I wanted after grading. Shooting in log still baffles me after all these years.

Here's the shots that seemed to work very well in c-log by ETTR. I applied a little Colorista III here and there and the fuji f125/Kodak 2393 lumetri preset in Premiere Pro CC15:


https://vimeo.com/bobdrummond/review/144997016/c113515510

password: bob
 
drummondb said:
I did an experiment a few weeks ago with ETTR in Clog. Sometimes it worked great, and sometimes I was unable to get the result I wanted after grading. Shooting in log still baffles me after all these years.

Here's the shots that seemed to work very well in c-log by ETTR. I applied a little Colorista III here and there and the fuji f125/Kodak 2393 lumetri preset in Premiere Pro CC15:


https://vimeo.com/bobdrummond/review/144997016/c113515510

password: bob
Click to expand...

those bloomy highlights...how did you do it? is it lens, or filter, or post precessing? it looks very cool, thou a bit weird on the house...looks a bit radioactive lol :)

edit: btw i like the footage very much!
 
mcnys said:
those bloomy highlights...how did you do it? is it lens, or filter, or post precessing? it looks very cool, thou a bit weird on the house...looks a bit radioactive lol :)

edit: btw i like the footage very much!
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I'm a big fan of old-school filtration, especially the stuff DP's were doing in the 70's. I'm always playing with vintage filters. These were Fog filters. I really love fog filters :)
 
drummondb said:
I did an experiment a few weeks ago with ETTR in Clog. Sometimes it worked great, and sometimes I was unable to get the result I wanted after grading. Shooting in log still baffles me after all these years.

Here's the shots that seemed to work very well in c-log by ETTR. I applied a little Colorista III here and there and the fuji f125/Kodak 2393 lumetri preset in Premiere Pro CC15:


https://vimeo.com/bobdrummond/review/144997016/c113515510

password: bob
Click to expand...

Thanks for sharing this footage – I too am loving your fog filter look! Fantastic =)

Out of interest, is this hand-held, AF on, with the 17-55mm 2.8? The OIS is doing a great job.
 
James Fisher said:
Thanks for sharing this footage – I too am loving your fog filter look! Fantastic =)

Out of interest, is this hand-held, AF on, with the 17-55mm 2.8? The OIS is doing a great job.
Click to expand...

Hey thanks! Interesting question. I was also testing out a new rig I'm building. The parts I was using for that test were my Shape c100 baseplate, with a shorter 15mm rod perpendicular on the front with two handles descending on either side, one of which being the zacuto z-grip relocator. I've mapped the focus lock to the button on the grip. I jam the MKII's EVF up to my eye, and i can keep it pretty steady. I also have a back half with a shoulder pad and some counterweights. I don't usually attach that half yet, not least because the weights stick out way too far behind me. I'm afraid I'm going to hit someone without knowing. I've already come very close to going through a window behind me with the counterweights. I like zacuto's idea of putting the camera directly on the shoulder to negate the need for a counterweight, but I don't really want to buy an evf to see what I'm shooting.

And yes, the lens was the 17-55 IS. I always leave the IS on no matter how I'm shooting (monopod, tripod, rig, etc). How'd you know it was that lens?

Here's a pic of the front part of my rig:


 
In C-Log is almost always expose to the right, works better for my personal taste. And then in post just pulled down the shadows. I also changed from c-log to using shane hurlbuts SIC002 custom profile for the C100. Personally it felt like an easier profile to grade and expose for.
 
drummondb said:
And yes, the lens was the 17-55 IS. I always leave the IS on no matter how I'm shooting (monopod, tripod, rig, etc). How'd you know it was that lens?
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The rig and OIS combo is really doing a great job! Thanks for sharing the rig details and pictures, really helps for future reference.

Good question! I recognised the focal length at the wide end and then saw the zoomed in shots and thought you'd probably be using a single lens for the test. Then saw zero shake so thought the lens must have OIS. Sherlocked the evidence and came to my conclusion!

I'm currently using GH4s for my day job, which is a fantastic camera, but I film weddings primarily and can't help but think the AF + NDs + dual slots + Canon OIS (not sold on Panasonic OIS in current lenses) would make my work more enjoyable/easier, and then also have AF + C-Log for narrative work would be great. The 17-55mm would be my top choice lens so nice to see examples of it in action.

Doing as much research as possible on the camera, operation, lenses and hoping to invest in one middle of next year (hopefully there'll be a price drop by then!)
 
TSDavis said:
In C-Log is almost always expose to the right, works better for my personal taste. And then in post just pulled down the shadows.
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Me too. ETTR, minor shadow pulldown, and occasionally raise my highlights and I'm typically good to go.
 
jthabel said:
Me too. ETTR, minor shadow pulldown, and occasionally raise my highlights and I'm typically good to go.
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That's interesting that you raise your highlights. I don't have any experience shooting C-Log, but I would assume that if you are ETTR then you'd normally want to rein your highlights in too and bring them down?

What's the theory behind why ETTR is good with the C100 and C-Log anyway?
 
James Fisher said:
That's interesting that you raise your highlights. I don't have any experience shooting C-Log, but I would assume that if you are ETTR then you'd normally want to rein your highlights in too and bring them down?

What's the theory behind why ETTR is good with the C100 and C-Log anyway?
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I'll typically raise my highlights a little too, it all depends on what the scene calls for. For me, I expose ETTR because the skin tones physically look different to my eyes when you expose them at a higher IRE than they do at lower values.
 
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