S log commercial with F3

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Nigel A

Well-known member
Here is the spec perfume ad we shot using the RGB 444, S log option for the Sony F3. We recorded Pro Res 4444 to the Cinedeck, and graded in a Davinci Resolve suite. We used Zeiss CP2 Primes, and had my Hollywood Microdolly, Cinevate Atlas 10 slider and lighting & grip package

We ended up using 3 slow motion shots that were recorded 60P to the SxS cards in Xdcam 4:2:0 and on other shot in 1080P 23.98.

After the spot I have a side by side comparision of the S log and graded version

It was played at Profusion in Toronto.

 
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Hi Nigel! I saw it the other day. Sorry to say I think the grading is aweful. Highlights are clipped and shadows too crushed. I was happy to find out at least that the ungraded Slog footage wasn´t clipped at all. Strange compared to the grading you did on those flowers with magic bullet, which looks just superb.

Were you able to record Slog in the SXS cards?
 
Thank you for the side/side comparison. I too found the grade contrast a bit aggressive, but seeing the original SLOG footage was very informative.
 
When we approached this shoot, it was done with the same process as any other commercial we've worked on. There was a clear creative brief, storyboards, and style to this spot. This was not a random test. These were all aesthetic choices in all aspects to tell the story. The great thing about S log, and shooting in an RGB mode, was we had the ability to choose which way we wanted to go. With this spot, the look was a glow, and bloom with the windows, and also softness in skin tones etc. It is a perfume ad. We had the ability to manipulate the windows, sheets, and all aspects of the picture because we were S log, RGB.

We saw that full dynamic range, and ability to create the look in post that we have seen in other cameras. That's what I'm impressed with. We get over 12 stops of latitude, and full control in post for a lot less than we have seen in alternatives. Creative choices for each individual artist, in each situation. This one was to create a glow. We had the choice.
 
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S log and SxS cards are interesting. I found you could record the s log to SxS cards, or through the 10 bit SDI output. What's interesting, and after some conversations with others is the full S log curve can only be achieved when recording in RGB mode. When you record to the SxS cards, or through the SDI output, you don't get all of the steps in the the curve. I did a very un scientific test and you could see the S log in RGB had more gradation than on the SxS cards or SDI output to Pro Res HQ.

Does it mean the bits you lose are so much that it should only be in the RGB mode? I'm looking forward to hearing responses as others get to test. I've shot other commercials with picture profiles that were recorded to 10 bit, Pro Res HQ and graded in a Pablo suite, and the colourist had not issues with the way it was shot, and what they could do with it.....
 
Nigel, love your work... and the Sony F3 which I am saving up some pennies for ;)

Care to share what ISO you were working with and approx wattage lighting? I wonder since you were using s-log how much ambient you used (if any) in conjunction with your lighting to achieve your contrast ratios.

Cheers,
 
Thanks for your comment. We were using the -3 dB which I believe is ISO 570, but I'll have to check again. We didn't have much time to test at all, so I worked off my waveform monitor to make sure my levels were correct. We also used the Rec 709 LUT for viewing, and still had the S log on the Cinedeck monitor. This gave us a sense of what it might be after it was graded, It was also good to see how the whites in the sheets looked. We could see if we were pushing them too far. Its amazing how much more sensitive the camera is with the RGB option, shooting S log.

We used a combination of Kino Flo Diva 400, 200, plus the Lupo 1200 Daylight fixture. Its like an HMI, but more compact since we were in a small hotel room. Another older HMI 200, and the Lupo Superlight (6 bank type flourscent). I used a makeshift silk on a 6ft polecat with the superlight to have a big soft source. This worked in the small suite. We didn't use any ambient light from the windows, just the practicals, and pot lights in the room. We shaped the light with nets, flags, fingers, and dots.
 
Nigel A said:
Thanks for your comment. We were using the -3 dB which I believe is ISO 570, but I'll have to check again. We didn't have much time to test at all, so I worked off my waveform monitor to make sure my levels were correct. We also used the Rec 709 LUT for viewing, and still had the S log on the Cinedeck monitor. This gave us a sense of what it might be after it was graded, It was also good to see how the whites in the sheets looked. We could see if we were pushing them too far. Its amazing how much more sensitive the camera is with the RGB option, shooting S log.

We used a combination of Kino Flo Diva 400, 200, plus the Lupo 1200 Daylight fixture. Its like an HMI, but more compact since we were in a small hotel room. Another older HMI 200, and the Lupo Superlight (6 bank type flourscent). I used a makeshift silk on a 6ft polecat with the superlight to have a big soft source. This worked in the small suite. We didn't use any ambient light from the windows, just the practicals, and pot lights in the room. We shaped the light with nets, flags, fingers, and dots.
Click to expand...

DUDE!

This has been up for 3 months and i'm just seeing it now! where the hell have i been....


One word of caution, shooting sLog at -3 dB throws the gamma curve out of wack, its been a while so im sure you've encountered the ugly clip it exhibits at the top end, compared to the gentle burn to white at 0dB. IT loses a lot of DR on the top end of the scale. Pretend slog only exists as 0dB AKA 1600 ISO. I cant imagine anyone would ever need more sensitivity than that.
 
Thanks Timur. Makes sense. Still learning how far we can push s log and I had played it very safe when we did this shoot.
 
Re: S log commercial with F3

Hi, did you use a LUT to convert your footage from s-log to rec 709 before you started grading and if so where did you get it? Many thanks, Matthew.
 
We used the Rec 709 lut in the camera for reference to the monitors and the colorist did his thing in grading
 
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