Matching FS100 to RED footage

djkarn105

djkarn105

Well-known member
I need to shoot some pickups for a short I shot on a Scarlet but alas, we cannot afford to rent the camera again so I am going to have to use my FS100. I have access to the same lenses we used ( Leica R's ) but I'm wondering if anyone has any advice on best results. I'm torn between coming up with a profile that most closely matches the grade we will use for the RED footage or using a log-ish profile. Also, I think we will be able to record to a hyperdeck, not sure how that effects opinions on this.
 
I'm working on a MoW currently that's shooting on Epic, but a few low light scenes are shot on FS100... i am shooting the FS at full range using a profile that has gamma = 709 and blacks set at -15, expose to hit 109 for highlights, + stay inside 11 stops

I'm shooting to a Hyperdeck

In finishing were are using the input transform for the Phantom camera

Still no where near the DR of the Epic, but as decent a match to RedColor3/RedFilmLog as one could hope for from a 709 camera

Run these images through a semi-pro software like FCP or PP and it WILL look like crap tho

I would stay far away from a faux log profile, it really is suboptimal in many ways, clipping highlights and raising blacks into mid grey does the camera no favors... seems best suited to the post software that gags on full range, and it makes little sense to kneecap the camera for the sake of crap software to me

Good luck,

d
 
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Dermot said:
In finishing were are using the input transform for the Phantom camera
Click to expand...

For the REC709 stuff?

maarek said:
You can easily get all the highlight detail that is over 100% back on Premiere. Don't know where you get the crap tho.
Click to expand...

I defer to Dermot over this as he's got more relevant experience here but imho it's probably the way these apps do their internal math. It's a fundamental belief of mine that everything has to be linear inside for the grading math to work properly and proportionately (especially for any VFX work). Resolve, Nuke and most likely the finishing tools Dermot uses are all probably 32 bit floating point pipelines. I don't know what CS6 is at the moment but it might be transcoding from YUV to RGB, some math there and back again. When you do something within CS6 i don't know what kind of conversions or colourspaces are being applied, it's a bit of a black box, especially with all those plugins.

So it's not to say the CS6 or FCP X aren't doing it right, but historically they've not.

A perfect example is the nightmare i've had getting DNxHD files, via QT Windows into various apps. Resolve just opens them. Job Done. Everything else interprets them differently.

Grading in Resolve is so much more precise than CS6 or FCP X for example as well, because, i feel you're making changes in linear space which has great latitude, even if the source doesn't.

hth
paul
 
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