Filmconvert Profiles FS700 sLOG2 & 7Q sLOG2 finally available

Tried this out the other day, and i might need to look at it again. I was getting decent results before the Slog2 patch came out, having the camera settings blank. After the patch, setting the camera to FS700 Odyssey 7Q Slog2... very strong reddish tint and major contrast. I only have the demo, i was actually waiting to see how the Slog2 profiles turned out! Right now, it doesn't seem right at all, something must be off. I shot at 5600k and had Film Convert set to that too.
 
I'm personally having better luck with the Sony F55 Slog2 / SGamut. I'm not sure why there is such a large magenta tint to the FS700 Slog profiles.
 
I just did a quick test to see if the Cine1-4 profiles may have changed from V1 of the pack to V2, and they have not. So it's just probably an Slog2 isolated issue.

I know it's possible that the camera Filmconvert received may have been different from the time they did the profiles for V1.
 
wish I understood the setup of a LUT better. I mean, i know how to create one, but, all these LUTS floating about that were "designed" for the FS700/slog2 and most of them aren't even close. I could understand some small variations, but these things are WAY off. Why is that? Even C-D's LUTS, supposedly for slog2, are so far off I can't use them. I do better CC in Resolve without a LUT.
 
cuervo said:
wish I understood the setup of a LUT better. I mean, i know how to create one, but, all these LUTS floating about that were "designed" for the FS700/slog2 and most of them aren't even close. I could understand some small variations, but these things are WAY off. Why is that? Even C-D's LUTS, supposedly for slog2, are so far off I can't use them. I do better CC in Resolve without a LUT.
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I couldn't agree more...
 
A LUT remapped values. That means a LUT only works linear. That means a LUT can only work in ONE situation -> when exposing slog as its supposed to expose. CDs LUT is absolutely correct, when u understand how it works.
 
U can orientate on 18% grey. When 18 grey is 50 at rec709 and 32 at slog2, thats about how much the LUT will "shift" your waveform to the top. Try underexposing 709 about 1,5 stops and u will get a perfect slog2 exposure or expose slog2 "right" and u get a right 709. And because its a very annoying approach i always say : Never use any LUT at all, try to expose and understand a log picture and always put a waveform on in your viewfinder.
 
thanx. this is your recurring method, skylike. I get it. But, that doesn't explain the radical color shifts, and in many cases, much more noise going thru a lut than not. Proper exposure is the key, on that we agree.
 
just to come back on the topic: I was refering about the FilmConvert sLog2 profile which is a picture style
not a LUT for proper image settings. The red tint has nothing to do with what SKYLIKE was explaining.
 
Im seeing this tint as well in Premiere Pro. The F55 Slog2 profile seems to be exactly the same as FS700 Slog2 profile but there is no red tint.
 
Since the latest 7Q sLOG2 profile still doesn't seem to work properly, is there a benefit to use Filmconvert for anything other than realistic grain?
 
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