S log white balance

Lenilenapi said:
Like I said, is it do-able - yes, but lots of hoops to run through. How many custom LUT's are you going to have. I could just carry a bunch of coral and CTB filters around and shoot through them if I wanted. Not too hard as I'm set up for 77mm on everything , but a PITA and that still leaves correcting for green.
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This was like people telling each other to throw blue filters in matteboxes to correct for Tungsten on the RED.. yeah, no thanks. I'd rather just have noise and not have to worry about everything lookin' dead.

I also agree about White Balance. The quicker and more accurate, the better. Being able to salt and pepper 4x4 Kino's without gel's or even shoot under nasty overheads (in a pinch), taking that to RCX and fine tuning color works out extremely well. And, on monitors, it doesn't look all that bad.
 
I ordered a few color correction filters - I'll see how it goes. For me, Sony F3 with S log is matching pretty damn close to the Alexa. I'm able to rent out the F3 with s log going to KI Pro Mini at still a very reasonable rate. I mean, why would the KI Pro Mini with 2 64gb cards suddenly jack up the price so greatly on the F3? The KI Pro to buy with cards is like $5000, so shouldn't that be like for a rental 2% of that so it's like 100. also it spits out 1080p quicktime files as pro res. you can't get any easier than that. What are people renting their Red One with MX for?

Also honestly the F3 is lighter, boots faster, has less noise and more latitude and sensitivity than a Red One MX - if the rental houses don't want to deal with it - fair enough - I got a system here ready to rent. And I've been renting it out pretty much every day since I got it.
 
Odd, cause my rentals/requests for sLog have been non stop. Once word got out that I had it the phone hasn't stopped.

I just roll the cost of the piq/kipro/log into the camera rental. It really doesn't go up much, plus the kipro/piq is in high demand cause of a lack of playback on the epic. You can record to ki mini, and have an offline editorial in seconds.

As far as luts etc.. I just load a lut into the monitor. Case closed.
 
whats the piq?
BTW - I'm just passing along what I've been told by the rental houses. Don't know how they're figuring costs or prices.
 
I'm maintaining course and going to get the Gemini. It will open up 1080p 60 recording and give me more room to work with color correction. Also, finding out if I can use it with the Red Epic so I can see if there is some way to shoot with the Red Epic - get some of the benefits of the camera - and be able to give my clients same day 1080p files. I doubt that though - because Red processes all the footage in post, right? I would probably lose most of the advantages of shooting Red, right?
 
You would wind up with poorly debayered 1080p out the sdi. It doesn't look right. Its just for monitoring.
 
Isn't there already a tungstun or Daylight choice when using SLog? If so then its likely that Sony is already not giving you the entire sensor information on the sLog output and thus it might not be a reach to just give you the ability to color balance or perhaps use the same Color Temp and Phase additions that are already in the camera. - Just a thought
 
Well its not RAW. There is some procesing, its just gamma and WB.

Its really not a big deal. You guys are talking like you're going to be grading 30mbps H264 5D footage and worryng about it falling apart....

This is 10bit LOG to 422 or 444. It grades like a dream. Better than anything you ever graded. Uncompressed 444 grades better than RED footage. Infact it grades better than just about anything, its uncompressed. The hyperdecklink gives you that @ 350$.

Uncompressed too much? Shoot to ki pro and get 10bit mastering quality files prores files... RIGHT OFF THE SENSOR..........
 
Timur,
I'm sure its great to grade. Just trying to figure out what my workflow will be in the field - how my clients will relate to it and how it affects my ease in lighting and judging color. I know one of my best clients always wants to see what it looks like on a monitor. I did grow up shooting film so its pretty similar. That said adding WB to the software sounds possible and like it would be an advantage. So would making a LUT easier to use out of the camera.

Actually i liked that idea of switching between a traditional 709 or cinegamma and then recording in sLog. You could show your client, judge color & lighting issues and even shoot a burst as a guide for the colorist. Why not? Do you think this would be that much trouble? Once you or client was used to the flow especially within a sequence then you could just stay with sLog.
 
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