S log picture profile test success

eddavid

eddavid

Carbonite Member
Shot a scene for a short film with the slog picture profile. Shooting to the Atomos Samurai v. 3.0
Looking quite great. Very pleased with the extra control I can do now to s log. I can put in the sharpening right away if I feel that the editor I give the material to won't sharpen it.

I have found that matrix off and matrix on settings - I've been playing with them. Getting healitier skin tones (in my opinion) with phase set from -3 to -13.

Also I think I like the "normal" matrix best.

what are other thoughts on this?
 
wow thanks for the positivism. I use Adobe Bridge to make the webpage thingy. Unfortuately it runs on flash and I think flash is dying out. Hopefully the next version of bridge works with HTML 5.

I know Pro Res HQ is the preferred way of recording 10bit slog, but for a lot of jobs that have a lot of footage, I just do Pro Res 422 and it seems to be okay - no one complains too much.

Is it best to do this? Probably not. But it makes it so I can shoot all day and just transfer once during lunch and once at the end of the day.
 
I'd challenge anyone to see the difference between ProRes and HQ on 98% of things shot.
Brooklyn Double Chocolate is mmmmmmmmm...I'll help you on a shoot next time for pay in Stouts! :)
 
I agree about the whole prorez thing. However, for me, I like to have as much info for grading as I can so I go HQ. It's not about the visual dif out of the box. I don't think there is. Come time for any heavy grading and you will know it!


Steve
 
around 40-50 IRE. We were rushing extremely quickly so nothing was a perfect science on this shoot. Also used bounce light as my key for this shoot and another one close to that for an interview - but I'm back to liking more directional light, diffused. Funny how quickly my mindset can change.

I'm finding I like the color representation of the NORMAL matrix the best at replicating what my eye sees in terms of color , especially in the red colors. SLOG straight out of the 444 setting or with the matrix off, creates more an orange than a red. So I'm finding that setting the matrix to normal and just messing with the PHASE to make the skintones look to my definition of "healthy" is how I am liking to shoot these days with the f3 and the samurai recording either pro res HQ or pro res 422.

For now I'm quite happy.

I tested out recording to MXF files via the KI Pro Mini very briefly. Too briefly. I'm curious about this as the acquisition codec vs pro res due to its noise ability.

Also I've been shooting a bunch of slog with -3db setting, rating it around 400 ASA to good results. Rating Slog at 0db at 800 ASA and it all gets me in the ballpark.

Also finding my light meter useful, but I trust my waveform and vectoscope more on my tvlogic monitor and have been exposing with this mostly, the light meter I use just to feel even more confidence in my consistency between scenes for narrative work.
 
Hi Ed

I really like your shooting and the look you got with the brewery film and the MTV and Childhood Hungry films on your website so I'm curious about the profiles you've developed.
1. Did you use the Abelcine profiles to begin with? I've been using these and am about to instal the new slog profiles.
2. With the brewery shoot, was there much between what was ungraded and the stills you showed us which indicated you'd done some colour correction in FCP?
3. Do you de-log them first and with what software/plugins?
4. Do you grade them yourself? In Apple's Color or FCP? Resolve?
5. Are you able to pass on any of your profiles? I'm struggling to get the kind of skin tones I like.

I've played with the matrix settings but just not found one that I'm happy with. I shoot a lot of non-broadcast documentary work on my own and so have resisted buying a separate recorder like the Samurai because of the set-up time and extra weight but am about to instal the new 1.4 firmware with slog and test shoot to SxS cards.

Thanks

Michael
 
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