Just got a new camera - Sony F35

If you go to www.tee2.tk/shared/filtertestpng

You will find four screengrabs -

1x Clear
1x D5600
1x 85
1x 85B

I have not adjusted exposure for the filtered shots, so they appear marginally darker. The difference between the 85 and 85B is subtle, but it's there.
 
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Correct me if I'm wrong here; I always thought that:
85= 3200 to 5400
85B= 3200 to 5600

Which one more closely resembles the camera's D5600?
The difficulty with all this is, of course, daylight comes in at a range of color temps. For my shooting, I appreciate a bit of warmth to the light.
 
Jon,

You've got it the other way around.

The daylight coming in is (let's pretend) 5600K. The camera, in tungsten mode, is expecting 3200K. So the temperature needs to come down.

It gets a bit confusing because a lower colour temperature appears "warmer" and vice versa.

Now, originally tungsten film was balanced to an older standard of 3400K, which is what an 85 filter does. That means the footage comes in ever so slightly cold.

An 85B filter corrects all the way to 3200K, which as you'll see in the pics is slightly (only slightly) warmer. In my eyes, it's more natural.

In theory the camera should be replicating an 85B filter - 5600 to 3200. I don't have any literature to back that up though.

JM
 
JMtheDP said:
If you go to www.tee2.tk/shared/filtertestpng

You will find four screengrabs -

1x Clear
1x D5600
1x 85
1x 85B

I have not adjusted exposure for the filtered shots, so they appear marginally darker. The difference between the 85 and 85B is subtle, but it's there.
Click to expand...


Wonderfull!
Thnk you so so much. I´m working on the shots right now, I´ll publish results shortly.
QUestion: what was the day like? cloudy? what would you say the color temp of the day was?
Did you shoot any other in focus shots by any chance?
 
Alright, here we go:

I´ve matched the levels of all 4 shots in Davinci resolve, but I didn´t touch each channel gain, so the color temp would remain the same.
My first impressions tell me that the 85 filter (not the 85B filter, which is what´s usually people refer to when calling for an 85 on set) gives the most neutral image. The 5600 is too warm as we all know, and using the 85B over the tungsten setting basically achieves the same effect. The 85 seems to be therefore the best combination. I wonder if an 85C would be even better... but probably not.

Thanks JM!

Order of pics as they appear here:
85
85B
5600
 

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No other shots I'm afraid, just ran through and built the camera quickly.

It was actually quite a nice day. The sun was out, although it might not look it.

If I'd been thinking I had my color meter to hand and I could have got a reading.
 
Yep, it's posted somewhere here in this thread. I did make one for Davinci and other one for Sony Vegas, following the original Slog white paper. Results are pretty good (it avoids having those ugly clipped blacks that people get when not properly grading log footage).
 
macgregor said:
Yep, it's posted somewhere here in this thread. I did make one for Davinci and other one for Sony Vegas, following the original Slog white paper. Results are pretty good (it avoids having those ugly clipped blacks that people get when not properly grading log footage).
Click to expand...

I might be blind, but I just looked through the whole thread (puh!) and couldn't find it. Are you sure you've uploaded it?
 
Now, I know it's exactly not on topic, but we seem to be something of our own community in this thread anyway.

I've seen, as I'm sure you guys have, this new blackmagic camera they've brought out. Am I the only person who scratches their head in disbelief at that form factor? I just cannot understand it, from any perspective.

At least DSLRs are very ergonomic for taking stills, so they have good excuses. I just don't understand why so many of these companies are trying to re-invent the wheel ergonomically. It just seems to create hassle and effort from where I can see it. I never could rig a 5D as quick as my old F900....
 
I think their design has to do with manufacturing and not ergonomics and let the rigging to third-party.
It is weird for sure, but if they deliver that new 4K camera in a timely fashion and a PL mount, Red better be VERY afraid. (and Sony).
 
I heard the sensor is a CCD. If that's correct I'm really looking forward to seeing how the image looks. 12 stops of DR, they say.

EDIT: I also read that they're planning a PL version soon. Would be interesting if they also did an E-mount or something similiar
 
If they did a PL mount version, I'd be tempted to have it as a cheapo alternative to the F35. Where I'd get upset is I would spend longer rigging it than the F35.

If it's CCD that would be very interesting, I thought CCDs seemed to have had their day. I do love 'em though. Not sure how it would get on for power consumption though?
 
F35 Slog-2.2 LUT
https://dl.dropbox.com/u/13362047/slog macgregor_12.cube

OK here it is. This is not a look, it is just a lut that converts from sony's F35 log gamma to a 2.2 gamma. It uses sony's slog whitepaper but compensates for the extra contrast that their curve has in my opinion. This curve does not clip any highlights, makes the footage look natural, and helps so much when grading.

After copying the cube file to the davinci resolve LUTs folder, all you have to do is load this LUT as an output LUT in the project settings in davinci resolve. You can also apply the lut to the track. But don't apply it as the 1st node or as an input LUT, otherwise you'll be limiting your possibilities. And remember to make sure you're setting up the clip attributes to Data levels (full range).

I wanted to create a short article explaining how to properly grade Slog footage, valid also for the F3, but I never find the time. Maybe later today in the plane.
 
Thanks! I've been toying around with different luts in speedgrade and resolve for a little while now without finding a truly satisfactory solution, so I'm looking forward to put this through its paces :)
A couple of words on your workflow would definitely be appreciated!
 
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