The SCCE episode one, what can we learn?

Now that I think about it, what we need to know about S-Log is where it adds the extra latitude.

The Alexa (at +6.3 over zero) goes two full stops better than the F3 (+4.3) over 0. On the other hand they are nearly tied (-7.3 and -7.0 respectively) on the low end.

If the S-Log gives a full stop better handling of the highlights it will be pretty darn good and better than the Red MX (currently at +5 over 0). If S-Log splits it 50/50 on the high and low ends it won't add as much and may not be worth using on normal shots due to the extra post processing time.

Did Nigel A. or someone do any thorough tests of S-Log yet?
 
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Slog will give about 1/2 stop on the bottom and almost 2 up top.

It transform the F3 into a serious competitor.
 
it's clear that the f3 is a serious competitor with s-log. and that the cameras handle color differently near highlight and shadow (something outside the realm of simple primary color correction to match them up)

alexa looks to be as good as film in areas, and better in others with a cleaner grain free image.

basically, alexa is the stuff.
f3 is amazing. not good enough of the budget, but actually amazing.

it would have bean great if they were doing the color tests with fuji eterna.
 
TimurCivan said:
Slog will give about 1/2 stop on the bottom and almost 2 up top.

It transform the F3 into a serious competitor.
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Timur, has anyone tested it yet that you've seen?

Those are like WOW! numbers that put it right up there with the Alexa (which I will doubt a bit until I see it, just so I won't be disappointed if its a tiny bit less.) But WOW! :love4:
 
I saw the first one before, but not the behind the scenes. What I saw in that was an estimate of 1.5-2 stops on the top end. Even if its 1.5 it will be very impressive.

Any chart testing done?
Duke
 
Duke M. said:
However, we are all going to encounter scenes like this with windows and bright lights outside (usually not as bad as this case). The question is what can we do with the F3 to still show its brighter outside and not blow the highlights?
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There's a dozen different ways to do it. And camera settings is probably the least likely to result in success.

a) as you said, bring up the light level in the room. But to counteract 7 stops, yes you'd need a lot of light.
b) cut the light coming into the window. There are lots of ways. Use a black net. Use ND gel on the window. Go to home depot and get $10 worth of Solar Screen window screen and gaff-tape that up on the window.
c) cut the light hitting the area outside the window. Put up a black flag, or a big net, or a silk, or a bedsheet.
d) shoot at a different time of day. Plan your shoot so that the sun isn't a blazing inferno right at that moment.
e) reframe your shot so the overblown window isn't in the frame.

Etc etc etc. Anyone who's ever shot corporates or interviews has had to face this situation a hundred times already, and those are the things you do. It would be nice (insane, actually) to have a sensor that can handle 7 stops of overexposure, sure ... but we've never had that before and we've always gotten the shot.

Trying to solve this scenario through settings is -- well, I mean, if it's an intellectual exercise you're after, go ahead, but as a practical matter -- let's put it this way. If you had a competent gaffer along on the shoot with you, he'd already have the window brought down before you even set the camera on the sticks, you wouldn't even need to ask.

I guess there's two different approaches you can take -- you can be like NASA and spend hundreds of thousands of dollars to engineer a pressurized pen that can write upside down and still function in the zero gravity of space, or you can be like the Russians and just use a pencil...
 
Everts,
Its a nice little piece but did shooting in Slog on a cinedeck buy you anything that wouldn't have looked just as good onto an SxS card.
 
Barry_Green said:
I guess there's two different approaches you can take -- you can be like NASA and spend hundreds of thousands of dollars to engineer a pressurized pen that can write upside down and still function in the zero gravity of space, or you can be like the Russians and just use a pencil...
Click to expand...

It sounds like S-Log would bring the F3 one or two additional stops, but I think its likely to require a combination of most of what you cited above including Cinegamma1 without it.
 
The idea of S-Log is to give you greater latitude of where you want your clipping point. In that case where there was a brick wall outside the window moving the highlight over to hide the bricks was an artistic decision. Without S-Log you'd be stuck with it.
 
at least. and sensitivity would sky rocket. new iso rating for f3 with log is 1600 for your full range DR. got ND?
 
Barry_Green said:
I guess there's two different approaches you can take -- you can be like NASA and spend hundreds of thousands of dollars to engineer a pressurized pen that can write upside down and still function in the zero gravity of space, or you can be like the Russians and just use a pencil...
Click to expand...

Genius!
 
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