FS7: image sample with problems

In custom mode the default setting of matrix ON adds some saturation to the image.

I dont really know or care what it does if you change the settings!

S
 
The window shot - seems to have better skin tone - maybe you could have used the window for key and fill with a reflector!

S
 
Yep - I think so - point it at some fruit, pedal it on an off see if you can see a difference in the monitor - its subtle - I only noticed it because I happend to be pointing at a greenscreen when I made the change!

Of course when you apply a LUT the difference is amplified.

S
 
So far it feels more safe to shoot Cine EI and viewing with the Sony S-log3 LUT. At least then I now if it'll look good or not.

As far as this shot I guess it can't be graded to be as good looking as when I had pure window daylight. I think the combination of cool outdoor colour and warm indoors colours didn't look to good. Often these mixed lighting conditions makes you choose one or the other to balance the scene from and sometimes I pick the wrong one.
 
My go. Kodak 2383 and various nodes;

Original
womanoriginal_zps3b265b10.png


Grade #1
woma2_zps7d03a720.png


Grade #2
woman1_zpscfe4eacc.png
 
Osslund said:
I checked and Matrix was set to on. Does this equals a more saturated image?
Click to expand...

If you want to get the CineEI look using custom mode, try turning off MATRIX, detail settings and NR. The matrix ON does some kind of coloring that is "sony look" or "unpleasant".
 
They are built into Davinci Resolve 11 (possibly 10 too I can't remember) but they are the exact same ones as Juan Melara - I guess BMD decided to include them. In fact every version or update of Resolve seems to include more and more LUTs and even flavours of slog.
 
starcentral said:
If you want to get the CineEI look using custom mode, try turning off MATRIX, detail settings and NR. The matrix ON does some kind of coloring that is "sony look" or "unpleasant".
Click to expand...

I did some testing Matrix on and off and with on it does change colours. Does this mean you get the same as Cine EI then?
 
Looks like this, one click.. I didnt make it on or for this image, just by putting greyscale where I think it should be from evaluating 709 and LC curves.

ossy2_1.33.1.jpg
 
Ben Scott said:
Ah gotcha thanks. It never occurred to me to see what might be included in Resolve!
Click to expand...

Me either, I honestly like to stick with one version for as long as possible but a year ago I started with v9 and then this year went to newer versions mainly because they improved support for Sony through slogs and ACES.
 
starcentral said:
I can't say definitively, but the general consensus from a few of us here on DVX is Yes.
Click to expand...

Pointing out the obvious, but worth noting for some... ...there's no S.Gamut3.cine in Custom mode which is only available in CineEI mode, so I guess it can't be identical. Also, dynamic range will vary in custom mode as you adjust ISO/gain.
 
I know some might want to tailor under paint and work on something that suits them but to me it sounds better to stick with Cine EI and get as pure LOG out of the FS7 as can be made. Then make all the look decisions in post. It sounds to me this will make me shoot faster and worry less about settings in camera.
 
I'm the same. I like to deal in constants and custom profies and the like wouldn't fit in with my (or colleague's) workflows - especially on multi camera shoots. If/when CIne-E can dial in a WB it will be perfect for me in terms of look, if not yet camera functionality.
 
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