FS5: FS5 Raw - Odyssey 7Q+ S-log question

X

XDeathOrGloryX

Active member
This is a question for Mitch, or anyone else who might be able to shed some light. When i bought my FS5 i ended up buying the RAW update and an O7Q+ because it was the only recorder in the game that could handle the RAW signal. My buddy who has one of the Shogun recorders said his does RAW as well, but he is able to record in S-log 3, instead of being stuck recording S-log2 like we are with the Odyssey.

Is there any plan to allow S-log3 recording with the O7Q+ any time soon? Im unable to use my camera in B-cam scenarios with a few of my clients because they are shooting everything on FS7's in S-log3.

Do i need to sell my O7Q+ (which i really do love), and get an Atomos (which I've never been that fond of), in order to actually get more use (and $$) out of my camera?

Any one else running into this problem? Thanks in advance for any insight.

Daniel
 
Hi,

The 7Q+ offers other functions such as HFR RAW recording, really great and personnal exposure tools, supersampling etc. But i totally agree and hope CONVERGENT DESIGN technicians allow the SLOG 3 recording as soon as possible.....
 
Last edited:
XDeathOrGloryX said:
Im unable to use my camera in B-cam scenarios with a few of my clients because they are shooting everything on FS7's in S-log3. l
Click to expand...

All other things being equal, and assuming no highlights have been blown or anything, it is quite easy to match S-LOG2 and S-LOG3 if you use the right LUT for each one. That is the key, they each must be graded slightly differently to end up with the same look. But in most indoor, controlled lighing scenarios they are virtually indistinguishable from each other after grading. The inherent differences between the FS5 and FS7, and whatever lenses you're using will pose more of a challenge than the differences between the two S-LOGs.

https://vimeo.com/ondemand/resolve
 
The actual raw recordings are neither S-Log2 nor S-Log3. It is only that the current firmware of the Odyssey only allows you to monitor via S-Log2. You can decode the DNGs to S-Log3/S-Gamut3.Cine using the workflow in the guide I wrote for Convergent Design. There are LUT available here for S-Log3 from FS5 RAW.
 
Nick_Shaw said:
The actual raw recordings are neither S-Log2 nor S-Log3. It is only that the current firmware of the Odyssey only allows you to monitor via S-Log2. You can decode the DNGs to S-Log3/S-Gamut3.Cine using the workflow in the guide I wrote for Convergent Design. There are LUT available here for S-Log3 from FS5 RAW.
Click to expand...

Correct me if I am wrong, but the OP never said whether he was recording DNG or ProRes with the Odyssey. I assumed ProRes since the other cameras are FS7s and the DNG workflow and data sizes make that format undesirable for most people recording the RAW output from the FS5. And if he is recording ProRes then the S-LOG will be baked in, right? I guess we need the OP to provide additional information on exactly what he is doing.
 
Sorry, yes. I am shooting ProRes. I shot CDNG once, and filled up 2TB in a day, so i don't think ill be doing much of that again. Haha. And i know if the proper LUTS are used, and care is taken in capture and in post, its not too hard to match. And if i was the editor/colorist on the job, i might be fine with that. But we are just shooting, and Post is handled by their team on the other coast.

We are shooting in mixed light environments, lots of run and gun, so i was hoping that we would be getting SLOG3 soon so that i could sell them on using my FS5 with the O7Q+, to save them the headache in post.

Mitch, that is great to hear. If you can influence the speed in which that gets implemented, i would be forever grateful. =)
 
Doug Jensen said:
Correct me if I am wrong, but the OP never said whether he was recording DNG or ProRes with the Odyssey. I assumed ProRes since the other cameras are FS7s and the DNG workflow and data sizes make that format undesirable for most people recording the RAW output from the FS5. And if he is recording ProRes then the S-LOG will be baked in, right? I guess we need the OP to provide additional information on exactly what he is doing.
Click to expand...
Your assumption was better than mine!
 
Nick_Shaw said:
The actual raw recordings are neither S-Log2 nor S-Log3. It is only that the current firmware of the Odyssey only allows you to monitor via S-Log2. You can decode the DNGs to S-Log3/S-Gamut3.Cine using the workflow in the guide I wrote for Convergent Design. There are LUT available here for S-Log3 from FS5 RAW.
Click to expand...

Sorry, maybe i am just stupid but where is the slog3 lut for fs5 raw footage?
i downloaded the folder ("Sony FS5 RAW Post Workflow LUTs (ALL)") on the convergent design site but there is no slog3 lut included. only slog2.
 
dreamXpress said:
Sorry, maybe i am just stupid but where is the slog3 lut for fs5 raw footage?
i downloaded the folder ("Sony FS5 RAW Post Workflow LUTs (ALL)") on the convergent design site but there is no slog3 lut included. only slog2.
Click to expand...
You are right. The LUTs in the download do not seem to match those listed on the download page. I'll make Convergent Design aware of the issue.
 
I have the same setup and wanted to use Bert's Arri LUT until I pulled my own from the camera, this is my approach and delivering S-Log 3 hasn't been a issue. I'm sure a small refinement could be made but my process is to email or thumb drive the LUTs I use (both exposure compensated S-Log and the Rec709 based monitored LUT) hope this helps
 
XDeathOrGloryX said:
This is a question for Mitch, or anyone else who might be able to shed some light. When i bought my FS5 i ended up buying the RAW update and an O7Q+ because it was the only recorder in the game that could handle the RAW signal. My buddy who has one of the Shogun recorders said his does RAW as well, but he is able to record in S-log 3, instead of being stuck recording S-log2 like we are with the Odyssey.

Is there any plan to allow S-log3 recording with the O7Q+ any time soon? Im unable to use my camera in B-cam scenarios with a few of my clients because they are shooting everything on FS7's in S-log3.
Click to expand...

You can grade them to match, or you can use Ben's LUT calc to create a LUT to convert for you, or you can use the 'color space transform' included in DaVinci to convert your gamma and/or color space for you.
 
You must log in or register to reply here.
Back
Top