EX3 to Ext Recorder and Card 4 backup. Slog, LUT or Cinegamma?

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tankbullock

Active member
I will be recording to both an external recorder (like Samurai) and SxS as a backup. The Ext drive will be recording Slog but I'm not quite so sure what to send to the internal card. I'm pretty sure straight Slog is pointless as 420 8 bit won't stand up to that much latitude in grading. So I am wondering whether to use Rec709 800% or a Non Slog Cinegamma to give myself the most useable backup material in case of emergency.
 
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I would just record SLog on the SxS in 8bit. And just back up your Slog 10 bit after the shoot. The SxS is there to activate recorder and to be a offline proxy footage, not to be back up . You would never really use it other then what I said. Just back up your 10 bit stuff after the shoot or on the shoot. Your 10 bit back up to another drive is for your "in case of emergency". You would seriously piss off client if you did'nt have back ups to your 10bit and only had the SxS as your back up.
 
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I meant as a Backup in case of failure on the EXT recorder. The project I'm shooting is a Docco, not Drama, so I won't have the luxury of doing 2nd takes on very much if something goes wrong our end. So my question was more a, if disaster strikes and I have to go back to SxS cards. What would stand up the best if it got taken through heavy post production.
 
tankbullock said:
I meant as a Backup in case of failure on the EXT recorder. The project I'm shooting is a Docco, not Drama, so I won't have the luxury of doing 2nd takes on very much if something goes wrong our end. So my question was more a, if disaster strikes and I have to go back to SxS cards. What would stand up the best if it got taken through heavy post production.
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Depends on what you mean...Heavy post "color correction" (fixing and just matching stuff), CC for an heavy effected look. What's the plan?

At this point your 8 bit no matter what. You will have problems in both, if pushed or pulled beyond reach.
If you loose Slog in 10 bit then you are just cutting yourself short and kinda giving your post guys the short end of the stick..

I would just go back to Abel Cine "range" PP and have some control of you image. Now you just have to expose and light correctly for Non Slog and you will be fine. (You will not have the range as before) Hence, more thought towards your lows and highs (especially). You are just now, playing more of a role of color corrector. If he does not have to push things to the limit to fix what you have done right, then it's fine.

But if you just throw it in Slog and light however, then he will have a full plate to deal with. On every shot. (but hey, that might be the plan) Some shots may work just fine, others may not.
All depends on what's in the shot and how you light it. And if it is just temporary one day thing, you will be fine.
Others have CC'd 8bit Slog and said it looks fine, but "what was the shot?" and did you even need the range? It's just more about how it is exposed...

8bit and 10 bit argument is best left to an experience post person. And how much is it under or how much is it over exposed. That is where all the problems lie.

You really need to speak with your post people and find out what they are planing on doing, so you know what they would prefer to have. In case of the worst.
 
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What I mean by Heavy is in terms of CC not effects or Green Screen. Obviously the SxS footage won't stand up as well to more dramatic CC and would only ever get used in the event of Corrupt files or Failure of the Ext Recorder.

I will test out a range of options to card - Slog, Slog with Lut's and PP's and get the Farm to put the files through their paces to see which stands up the best to our CC needs.

Thanks for your help.
 
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