sLog, Cooke 18-100 T3 - Narrative film stills - WHY you need sLog.

TimurCivan

TimurCivan

Director of Photography
Staff member
bistro04_1.27.1.jpg

bistro02_1.6.1.jpg

bistro03_1.7.1.jpg

bistro05_1.31.1.jpg


There is a lot of conflicting information going on about sLog, and "why". Yes we all know it adds dynamic range, but in the situation shot above, it was a fully controlled environment, with only a 10 stop range of contrast. Yes i could have very well shot this in Cine gamma 1, and had no "noise" penalty whatsoever, and used the F3's 12 stops of native range. So WHY sLog, why bother with the 13.5 stops if im not going to use it?

The answer:
Its all about the tones. Activating sLog activates a part of the DSP that you just cant tap in standard gamma. Look at the highlight roll off, look at the shadow roll off... the feel. Its a "more expensive" processing that was implemented on the F35 and F9000, and most likely will be used on the F65. The 3k, for log upgrade unlocks this processing power for you. The f3 without a doubt looks awesome without it, but with.... well it just reaches up into a higher level of performance.

Just for reference, these are "non active" stills. moments that wont be in the final Cut, recorded to KI PRO mini. Shot on the Cooke 18-100 T3 with an Ultra con 1 Filter.

The ENTIRE lighting packge was 2x 650w ARRI's, 1x 650w Redhead, and a 1k Mickey Mole. Thats it.... oh and a assload of grip to control it. Base 1600 ISO has its benefits.

As far as concerns about "noise" the proof is in the pudding. The actors were exposed @35-40 IRE and the grabs you see are after a one light pass to Delog the footage.
 
If you had told me you can get images like this from sub $20k digital just 5 years ago, i would have told you you were crazy.
 
I probably know the answer to this, but how much of that warmth was in the grade vs how much was inherent from the glass?
 
mcgeedigital said:
Looks damn nice.
Click to expand...


+1


TimurCivan said:
...and a assload of grip to control it. Base 1600 ISO has its benefits.


As far as concerns about "noise" the proof is in the pudding. The actors were exposed @35-40 IRE and the grabs you see are after a one light pass to Delog the footage.
Click to expand...


Indeed, what kind of diffusion did you use?


Also wondering what's the WB set at, is that a window with day light back there? It seems it's around 4000K or so.
 
Well... the diffusion is the secret. :)

its a combination of opal, bounce card, and gridcloth.... how you combine them is up to you!

The WB was set at 3200k and i warmed the lights to make it more around 2900. In the grade we pushed it even warmer, hence the blue looking warmer than normal.
 
Beautifully done Timur. Very nice balance. Goes to show that skill and creative judgement for what goes in front of the lens is as important as what goes on behind it.
 
Nice shots Timur.
I personally don't like real colors on movies. I don't have a set formula, I just go with the feel I want to give that particular shot.
Do you always use one look or do you have any other formula?
 
Thanks doug,

I've always loved warm.

However, This isn't color corrected yet, just delogged. It will be less aggressive in final product.
 
You must log in or register to reply here.
Back
Top