F55: SGamut vs SGamut3.cine comparison video

Interesting. I actually quite like S-Gamut 1 up until the sun setting shot, but I swear my F35 never did that (although it would smear which is arguably worse). I may try this test on my 65.

I will definitely be using S.Gamut3.Cine though, I will also chat with my colourist and get his opinion on it.
 
It's not surprising that S-gamut/S-Log2 clips come across looking bad because the LUT being applied to them wasn't designed to be applied to them. The LC-709 Type A LUT is designed for use with S-gamut3/S-LOG3 and S-gamut3.com/S-LOG3. So what this test shows is that if you apply the wrong LUT to S-gamut/S-Log2, it won't look very good. No kidding! But you shouldn't come away assuming that S-gamut/S-Log2 won't look great (it does!!) when handled properly in post.

http://www.vortexmedia.com/Guide-to-Sony-F55.html
 
They are available from Sony's community forums, just search for 3D LUT. They are also posted in these forums although somewhat scattered around.

The LUTS are a great shortcut but no replacement for proper grading by a colorist. Still they can work quite great.
 
Ive found the Slog3 (more cineon like curve) coupled with Sgamut3.cine (more natural/pastal/water colour/Alexa like) to be absolutely what Sony needed to play ball with Alexa. No more "Sony look", and LUTs play very nice with it.
I can't say I've had noise issues like others have complained about with Slog3, but if I find noise that makes me ill, just a light "neat de-noise" of 20 to 30% (RAW tho) cleans it up so well that I have to add Film grain back in for good measure.

Its so nice that Sony have been listening.
Also note that Art Adams assisted Sony in developing the Sgamut3.cine colour space. and he pointed out to Sony that Film/Arri colour science only let colours saturate up to a certain luminance point and no further, which in the past Sony's colour science/other Sgamuts etc allowed saturation to continue all the way into bleeding high lights.
 
Jusgorilla said:
Also note that Art Adams assisted Sony in developing the Sgamut3.cine colour space. and he pointed out to Sony that Film/Arri colour science only let colours saturate up to a certain luminance point and no further, which in the past Sony's colour science/other Sgamuts etc allowed saturation to continue all the way into bleeding high lights.
Click to expand...

Since I don't really grade any of the logs by hand, I don't know for sure, but it's been my understanding that most of what you're talking about happens in the LC709 LUTs.

That said, I should probably revisit what's going on in camera since SLog3 showed up. Alexa really finesses those highlights even in LogC, Sony would do well to copy if they haven't already.

Even when I want a low-con "log" look in the grade, I apply the LC709 LUT (or others, like Impulz), and then back off the contrast.

To me there is a visual difference between a flat look where you see all 14 stops but the gamma is screwed up (SLog 2 or 3), and a flat look where you see all 14 stops, but the gamma is correct for viewing. (i.e. faces are ending up in brightness where you wanted them in relationship to other things)
 
You must log in or register to reply here.
Back
Top