FS7: Mixed light conditions Custom or Cine IE ?

Look Sam we both discovered the over-under 40 (I say 35) law of Logging!

morgan_moore said:
Im not knocking his footage, (which is nice!) just the workflow.

Im a black and white guy..

I dont buy 'nudging'

Either you are grading the material and need to be a proper grader* who can handle Slog (it takes 10mins to learn to apply a LUT) or it needs to be 'edit ready' either because the client is a total numptie or because it is going out (being broadcast) in 10 mins and there is no time to grade.

Incidentally as operators/shooters, we should IMO board the LUT we are shooting for and send it with the footage to the editor.

*actually anyone under 40 not using FCP7 can handle Slog with 10 mins of help.
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icarusfilm said:
This is a doc about dementia no lighting at all (dementia patients get very agitated by bright lights
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Here is a classic situation when we need to sit down with the producer.

"I know you would like me to shoot this edit ready in camera, this I can normally do, but your subject is a little bit special in thier light sensitivity means I cannot use my lighting package, in this case I feel we need to go with the post and grading route"

This is the conversation I tried to have on my train doco. I felt perfectly happy to shoot a 'normal' doc and interviews on a baked look, but I really felt that the special situation of PTC with lights, tunnels, open sky and trees flashing past in the background was a 'special case' for shooting flat as the exposure was flicking up and down by about 5 stops!
 
We should all be able to shoot 'normal stuff' baked, ready to edit.

We should only need to move to Slog (or HMI) when it is a 'special case'..
INT interviews with EXT view
Tracking shots through different colour temp rooms

etc. etc.
 
Ready to edit doesn't mean no need for tweaking also rec709 benefits from some touches you also level sound etc.

morgan_moore said:
We should all be able to shoot 'normal stuff' baked, ready to edit.

We should only need to move to Slog (or HMI) when it is a 'special case'..
INT interviews with EXT view
Tracking shots through different colour temp rooms

etc. etc.
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morgan_moore said:
10% clients camera and settings - im operaor not dop - probably rental camera
70% shoot edit colour
10% DIt it - aka add lut export as pro res (all cams from GoPro to fs7) - deliver "edit ready" to client
10% hand off slog - usually horror results
10% hand off custom 50mb 422 - usually horror results
5% grade for client after the cut
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Looks like you are working at 115%...
 
LennyLevy said:
I am curious how many of you Cine EI guys do your own grading or just hand the footage to your clients. I suspect most of the "Custom Boys " hand it off.
Show of hands please?
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I've owned my F55 since 2015(I think. Lol). I've shot LOG a handful of times(4-5) and in the last ~4 months I've shot RAW four days. The rest is all Custom. 100% of what I shoot is handed over.
 
Liam Hall said:
Can some of you custom shooters post a link to actual footage you've shot rather than just stills? Icurusfilm's frames look lovely and all, but I'd rather see actual moving pics. Cheer all.
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Here's some from the archive.

Shot 100% custom Slog3 (matrix off) again, in some pretty fierce equatorial sun: https://vimeo.com/169605421 (pass: moringa)

Shot 100% custom Slog3 (matrix off) again, at 180fps, in typical British overcast sunlight: https://vimeo.com/170445049

Shot entirely in custom Slog3 with matrix off (except the household scene circa 4m15s, when I'd just got the cam back from a rental and the numpty had switched matrix back on, took me 20mins to work out what'd happened - nearly managed to tame those magentas and lime greens in the grade though): https://vimeo.com/154480763 (pass: MAM)

Watcha reckon?

jason
 
Liam Hall said:
Thanks Icarusfilm, much appreciated. Nice shooting, and great to see the 18-55 in action. It's a different look for sure, not horrific, but different.

I have a couple of clients that claim they know how to post Slog, yet when I see the results, (which they love), I see that they simply slap on a LUT, whack up the saturation and move on. In short, they have no idea, and won't admit it, so I'm thinking of giving them footage that is already dialled in. The thought of shooting custom still makes me come out in a cold sweat, but good to see some decent footage.
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I'm still having a hard time wrapping my head around why some people have such an aversion to "Custom" mode. We have shot for YEARS with custom matrix settings "burned-in" on F900's, VariCam's, etc. with arguably awesome results, that didn't have to be touched in post(or very little). LOG is a nice tool to have, but it's not fool proof. It's a lot easier to have your footage messed up being shot LOG, than with the look already baked in, if the client doesn't know how to grade.
 
jasonbrooks said:
Here's some from the archive.

Shot 100% custom Slog3 (matrix off) again, in some pretty fierce equatorial sun: https://vimeo.com/169605421 (pass: moringa)

Shot 100% custom Slog3 (matrix off) again, at 180fps, in typical British overcast sunlight: https://vimeo.com/170445049

Shot entirely in custom Slog3 with matrix off (except the household scene circa 4m15s, when I'd just got the cam back from a rental and the numpty had switched matrix back on, took me 20mins to work out what'd happened - nearly managed to tame those magentas and lime greens in the grade though): https://vimeo.com/154480763 (pass: MAM)

Watcha reckon?

jason
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Thanks for posting Jason, but these were shot slog, so you still needed to grade. I'm interested in finished or near to finished in-camera looks. Got any of those?
 
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