So... what is the DR with slog?

Bout right. I'm experimenting with HD con filters to see if I can extend it to 14... I want 14.....
 
Hm, I have full set of ultra cons and was wondering if I should keep them or not... let me know your results if you end up experimenting!
 
13 you're in film range.... hell, 11 you're in film range depending on the stock.....
 
No, 8 bit is crap for grading, and S-log needs massive grading. The minimum would be external ProRes recording (like AJA KiPro), but then you can't monitor anything but S-log any more.
 
the alexa is 14.5.

but at this point, 1 stop is actually a BIG difference.....
 
nomad-3 said:
No, 8 bit is crap for grading, and S-log needs massive grading. The minimum would be external ProRes recording (like AJA KiPro), but then you can't monitor anything but S-log any more.
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I'm not disagreeing, but to give a little more explanation. For S-Log you need 10 bit and a higher bit rate. You can grade XDCAM 8 bit, but heavy grading causes banding in the sky, etc. Many prosumer cameras record 8 bit. That's when the camera's profiles come in handy.

I'm shooting next week and the producer doesn't have the money for a colorist, needs fast turn around, needs a broadcast legal signal, yada, yada.
I'll shoot mostly Cine2 with a few tweaks to the PP and it will be good to go. That's one thing I simply LOVE :love4: about this camera. Its equally at home at micro budget productions and those with a real budget.

Fortunately the F3 is one of the few cameras where the images look better than average straight out of the box.
 
I agree 100%! If you can't record S-Log properly, tweak the camera's PP as close as possible to the desired final look and have a go at internal recording.
 
Lots of people have been using the Ki Pro Mini. I don't think anyone has taken delivery of a pix240 yet, but it should be soon. The KPM captures above broadcast limits, but then you need to move the upper highlight data back into the safe zone or it won't be displayed.
 
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Duke M. said:
Lots of people have using the Ki Pro Mini. I don't think anyone has taken delivery of a pix240 yet, but it should be soon. The KPM captures above broadcast limits, but then you need to move the upper highlight data back into the safe zone or it won't be displayed.
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Someone remind me what the issue is with prores and images outside legal broadcast limits?
 
Legal broadcast limits are IRE 0-99. Many programs go to 109. Pro Res and KPM can capture higher ranges, but if your program doesn't support them it will clip.

I use After Effects to get them back into workable limits. This is an interested tutorial about CC and resetting the range.
 
[FONT=&quot]10 bit over 8 bit recording increases your color value from 256 colors to 1024 colors per RGB channel giving you a lot more data or shades of colors to work with during color correction. You are literally going from millions of colors at 8bit to a trillion colors at 10bit (1024x1024x1024)[/FONT][FONT=&quot]. The Ki Pro Mini is a 10bit 4:2:2 recorder that I'm using with my F3, I color correct in Avid MC 5 and also us Magic bullet, I normally shoot at 145Mb/s transcode the ProRes to DNxHD (AJA will soon release their 3.0 software adding DNxHD) A trick I learned from one of Stu Maschwitz tutorials is to bring the lower end of the graph in the master curve down and push the upper end up forming an S curve. This adds a nice contrast and pushes up the highlights a bit for a nice look. I usually go through the entire timeline this way tweaking the colors to fit the story. If it is for broadcast; in the end I add the Avid safe color limiter and set it up according to the requested broadcast specifications. [/FONT]
 
I´ve shot so far 3 big projects with the Slog option:

- 1st recorded with AKA ki pro
- 2nd internally XDcam
- 3rd recorded with AKA ki pro mini


The Aja recorders have the issue of clipping the highlights at 100IRE since they record in prores, which is very dangerous if they don´t take precautions in post to bring down the levels and recover the "hidden" highlights.
THe XDCAM, as oppossed to what many people think, looked pretty good. As long as the grading is processed at a high bit depth (I used 32bits), the results are very good considering the limitations on the codec.
 
Did you expose in a standard fashion for log w/ xdcam? How did it handle being delogged? Macro blocking? Banding?
 
macgregor said:
THe XDCAM, as oppossed to what many people think, looked pretty good. As long as the grading is processed at a high bit depth (I used 32bits), the results are very good considering the limitations on the codec.
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What did you use to process the grading at 32bits?
 
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