FS700 7Q matching A7S2 slog2

I

ianthom

Active member
So....I have been trying, without a whole lot of success to match my fs700 with the 7Q and an A7s2 using slog2, and I am starting to lose patience
It is really frustrating, as the A7s2 'should' be an awesome B-cam to the fs, but I just....can't quite....get there....
I am almost at the point of selling the FS700 kit to get another A7S2 just so I can get a reliable match, or even, God forbid, selling both kits to get a Red weapon setup-but I just really want the two to work...particularly as the FS has so much going for it, particularly with the 7Q...

Anyone able to help before I lose patience? and secret sauce or custom LUTs (I would be MORE than happy to pay for any, and keep them proprietary)

Thanks in advance you awesome fellow searchers you....
 
ditto. In the same boat with my A7R2. I was surprised at the difference. Disappointed too as that's why I bought the A7R2 in the first place.

Both set to Slog2. Both using identical PP settings. Same exposure/WB...etc.

And for good measure, I shoot the color checker chart...and try using Resolve's color match and STILL no luck. Took me an hour to dial in a matching profile for an indoor interview I did a month ago. Tried saving it out as a lut...but it didn't work in a similar setup.
 
seanmc said:
ditto. In the same boat with my A7R2. I was surprised at the difference. Disappointed too as that's why I bought the A7R2 in the first place.

Both set to Slog2. Both using identical PP settings. Same exposure/WB...etc.

And for good measure, I shoot the color checker chart...and try using Resolve's color match and STILL no luck. Took me an hour to dial in a matching profile for an indoor interview I did a month ago. Tried saving it out as a lut...but it didn't work in a similar setup.
Click to expand...

Sigh....Got some desicions to make as to whether I trade in the FS & 7Q or wait to see what something like the fabled A9 can provide...
 
ianthom said:
Sigh....Got some desicions to make as to whether I trade in the FS & 7Q or wait to see what something like the fabled A9 can provide...
Click to expand...
If doing two camera shoots that need to be matched is something you a lot, having two of the same camera is probably the best way to go.

I have the FS700 and the original A7S, they seem to match fairly well (they treat reds very differently though, with the A7S's reds being much more orange and the FS700 more magenta) when using Cinegammas. But using 7Q to record from the raw output of the FS700 makes them very different and tricky to match in my limited attempts.
 
My A7s is very hard to match to my FS700 without both of them being used with 7Q's.

*Without a 7Q being used with the A7s, I had much better luck matching up Cine2 off the A7s to the Slog2 from the FS700+7Q.

*If both cameras are using 7Q which is what i have had much more success and practice doing, I highly recommend using the CINE color space instead of S-Gamut on the A7s to match to the FS700. Then use ALLISTERS A7s FILMIC 2 LUT on the A7s footage followed by boosting saturation, use the Convergent Design Sony SLOG2 LUT on the FS700 and I can get pretty darn close....sometimes spot on.



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www.roughcutproductions.com
 
ashclever said:
My A7s is very hard to match to my FS700 without both of them being used with 7Q's.

*Without a 7Q being used with the A7s, I had much better luck matching up Cine2 off the A7s to the Slog2 from the FS700+7Q.

*If both cameras are using 7Q which is what i have had much more success and practice doing, I highly recommend using the CINE color space instead of S-Gamut on the A7s to match to the FS700. Then use ALLISTERS A7s FILMIC 2 LUT on the A7s footage followed by boosting saturation, use the Convergent Design Sony SLOG2 LUT on the FS700 and I can get pretty darn close....sometimes spot on.



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www.roughcutproductions.com
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thanks mate! Will absolutely give that a try, that is the kind of 'secret sauce' tip I am looking for...
probably should have explained my context-as you are right two camera's the same is obviously ideal
I work as a solo 'run n gun' shooter, mostly in educational settings, and so usually have the fs700 with the 7q as my 'a' cam and have the a7s2 on a gimbal, slider or jib for the extra stuff. I can't really have a full monitor in this circumstance (as I need to be able to quickly grab the a7s2 in a classroom or whatever and need it to have the smallest footprint possible) two fs700's just won't work I don't think, but if I move to two of the smaller cameras I lose the beautiful image I get from the 7q in both prores and especially raw....
I suppose I am hoping (but I suspect it is a few years off) that I can get the fs700 image in a smaller form factor (A9II maybe ?!) and until then I am looking for ways to keep myself out of matching hell :) any other tips or Magic LUTS greatly appreciated....Legends!
 
check this out:
https://www.youtube.com/watch?v=biO7AvxqGE4

What I did there is match a standard profile of my b-cam with my slog 2 from the fs700

If I can do that, you guys can do it too. What I did here is match the fs700 footage to the straight default profile in the 5D!!! I did this by adjusting in fcpx, then saving that colour correction profile. I've since matched numerous shoots with those 2 cameras!

at first I was really worried, but quickly loosen'd up in editing. If your honest with yourself, I doubt you'd assume 2 different cameras in that video and I am without a doubt convinced that even if any of you guys could tell - NOBODY else can that isn't a highly talented colourist.

But in my case I think matching slog to an actual profile is easier than shooting both flat - because then you're having to move both. It's easier to have a relatively pleasing look and match the slog to that imo.

any thoughts, or do you guys think I"m out to lunch? ;)
 
You are going about this the right way. The whole point of shooting something in a Log mode is so that material has a lot of flexibility for post correction. So then use it to match the look you like. If you have a look you like from the other camera, then use it and match the Log camera to it. Done. If you don't have a preset look that you like, then create one and work them both to it. But that's twice the work that you might be able to avoid.
 
Thanks again for all the reply's...this is why I love these communties
one thought I had, was if we are 'matching backwards' by tuning the 7q signal to mimic another camera, are we in fact losing some of the benifets of the fs7q signal? What I mean is that wouldn't it be better to tune the bcam signal? I feel like I have found the sweet spot of my fs7q and not sure if I want to mess with that....
 
ianthom said:
one thought I had, was if we are 'matching backwards' by tuning the 7q signal to mimic another camera, are we in fact losing some of the benifets of the fs7q signal? What I mean is that wouldn't it be better to tune the bcam signal?
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Since the FS7Q signal is 10bit 422 it will hold up better when pushed around, so in that regard it's better to modify that one rather than the 8bit 420 of the A7SII (assuming internal recording).
 
Camera matching just isn't a secret sauce or an all in one LUT. It's tough. If you want a reliable match every time without using a colorist you should just go with two of the same camera.
 
yeah of course two cameras would be ideal, but as i said I was hoping slog2 from the same manufacturer would get me closer....actually having 'some' success with cine2 on the a7s as a 'useable' match (thanks ashclever!)
 
davidhildreth said:
Camera matching just isn't a secret sauce or an all in one LUT. It's tough. If you want a reliable match every time without using a colorist you should just go with two of the same camera.
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I agree. Unfortunately I have even seen this not work in the case of my 2 panasonic camcorders bought new at the same time. Darn things do not match and I just don't get it.
 
Sorry to revive an old thread, but I just got a used A7SII to replace my A6300 as my B-cam to my FS700 and O7Q+. Since the FS700 SLOG2 doesn't have s.gamut, I have my color mode set to Cinema. I noticed though that if on my A6300 I set it to SLOG2 with the Cinema color mode, it was way too contrasty, wheras s.gamut was too log-y compared to the FS700 for a perfect match. Which color modes do you set your A7Siis too in SLOG2? In theory SLOG2 in cinema color mode on both should look pretty much the same...
 
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