Ungraded FS100 Material

A

andigesi

Member
Hi,

is there any chance to download the highest possible
in-camera-recorded files: flat, ungraded, out of the cam?
Doesnot really matter what and doesn't have to be much.

I gt some BMCC files and would love to combine what can be done in grading.
I really like the pictures that FS100 creates, but so far I have at least found
3 videos that really match my taste of grading.
I believe this is because lack of Dynamic Range, but I would love to see what
is possible myself.

Thank you so much!
Andi
 
Thank you, Erwin!

The text says: All footage (MTS files from the Sony NEX FS100) and some extra raw NEX-5 photos
can be downloaded via the instructions mentioned in the video.

Unfortunately, the video itself won't work.
It says "Sorry. This video will be available for viewing shortly."

Cheers
 
The assumpton here's not really on;
is there any chance to download the highest possible in-camera-recorded files: flat, ungraded, out of the cam?
Click to expand...

The highest possiable quality images are not going to be flat, the camera is really (REALLY) not a log device...

There's more than a bit of a trick to match the FS100 to a LOG image, it's not un-doable, just not obvious, and really the "fauxlog" with iifted blacks are not going to come close to matching, and if you use them with this workflow they fall apart completly, totaly, absolutly....

in matching to log images i;
1) expose for 11 stops or less, this is the limit of the camera
2) use a profile that maps the sensor to the full range 0-1023 in camera
3) in post set my color model to linear in my finishing system
4) i select a 3D LIN-2-LOG LUT on injest into the system in place 709

this works really well, but you need to have all the pieces of the puzzle in place;
1) use a spot meter or decent scopes on set, the camera histogram is not accurate enough
2) set camera profile to use the full range coming off the sensor, blacks at -7, peak whites at 109 on a scope
3) select a finishing system that allows flexilability in color models - Mystika, Pablo, DS, Baseight, SpeedGrade, Nucoda, Luster come to mind, current Smoke and Flame on Linux also... Smoke2011 and earlier, Avid MC & Symp, Lightworks, Smoke on Mac, Vegas, all allow full range, but are locked to 709, so work arounds are possiable... FCP & PP are both locked to 709 AND clip levels to 64-940.. so are really unsuitable for this approach without a bucket load of workarounds (or it might be impossiable, i don't know, i don't use these software's)... all the 709 color model softwares are automaticly applying a 709 LUT on injest, so adding another LUT will destroy the image, so it means counteracting the 709 with a third LUT before the LIN-2-LOG transform... gotta have 32float workflow or you will clip the image into nastyness... i have no idea if PP or FCP allow this...
4) There are many LIN-2-LOG LUT's on offer, the two i like best are both from Iridas, and are easly avb online.. the SI2K & Phantom LUT's are very gentle and you end up with 0-1023 mapped to 240-868 ( what LOG workflow is expecting to see), but i have many more in my LUTs folder on my server

At this point you will have footage from the FS100 that will work well with film-Log scaned/Epic-RedFilmLog/F3-Slog/Alexa-LogC/C300-Clog etc etc... and will unfold through a standard Kodak 2383 LUT beuatifuly

But once again i advise you to test the fauxlog and find the weaknesess, but also test the recipie above and compare them in a real LOG workflow (and on a real monitor)... bonus is that the dalies look great if 0-1023 is mapped to 64-940 on injest into the edit system

good luck.. if you can finish with the tools i listed i can send you some frames from a FS100 recorded onto a BMD shuttle @ MXF185x, DNxHD185x or ProRezHQ or Uncompressed Qt and matching internal recordings that i use for testing... but there's no sense without all the pieces of the puzzle in place. it will only serve to make the camera look worse than it really is.

the other option would be to transform the BMC camera into 709 and compare to a FS100 image at full range... if you are delivering 709 anyway (and almost everyone does) then this makes alot of sense.

it would seem the FS100 strengths are most likely seen when handheld in low light, there the low noise and better rolling shutter artifacts should be apperant, and the inverse also.... the BMC camera should show better in high contrast with a good base exposure and not much camera movement




d
 
Last edited:
@ Erwin: thank you, fur sure I'll be patient. Did not know that vimeo is processing the videos so long.

@ Dermot: thanks for this very long answer! Although I cannot fully understand it, at least I got the idea
of not flattening an image too much with the FS100 and got a better idea of the strength and weaknesses of BMC and FS100.
Are you recording via Laptop and if so, which software do you use for monitoring? Or do you check all these infos / the LUT
directly in the camera?

Thank you both!
 
andigesi said:
@ Dermot: thanks for this very long answer! Although I cannot fully understand it, at least I got the idea
of not flattening an image too much with the FS100 and got a better idea of the strength and weaknesses of BMC and FS100.
Are you recording via Laptop and if so, which software do you use for monitoring? Or do you check all these infos / the LUT
directly in the camera?
Click to expand...

i test until i feel confident that i understand what the limiations are

I record onto a BMD hyperdeck shuttle, and do a safety/back-up in camera with the AVCHD codec

I use a spotmeter for figureing out the range of stops, and sometimes exposure, if it's clearly flatter than 11 stops then i just use my incedent meter, but i figured out profiles and exposure values by feeding the output of the camera into good scopes and setting my meter's ISO from what i learned there.

The camera's onboard monitoring isn't workable in terms of exposure or color balance for me, everyone's diffrent and loads of folks do great work with nothing more than what the camera has and never touch a lightmeter

I don't check anything but focus and frameing in the camera, but i come from years and years of shooting film, so i'm used to that workflow

the rest of my postchain is typical highend gear circia 2013, and i have matched the FS100 to Alexa logC footage, like i mentioned - it's not an ideal place to start from... but with care and attention you can make it work within the limitations of the camera... 11 stops & 8bits are limitations for sure... but with both the Alexa and FS100 at 2000ISO the FS100 catches up quickly.. should be said that the Alexa i was matching to was in HD/ProRez not Arri RAW.

On paper the BM camera is a far better choice on a tripod under the midday sun, and the FS100 the one to bet on with a pogocam chase seq under streetlights at night

you mentioned that you have seen a few clips that you liked, why not ask the DP's who shot them for ungraded frames?

d
 
Last edited:
Great, I downloaded everything, thanks!
It helps a lot to see the native footage of the FS100. There is still
a lot of colorshifting possible in post, I think, before the image clips.

Sorry, I know this is another topic in this threat, but, referring to the
movie: the Metabones Speedbooster is pretty interesting.
Ist there any disadvantage the Speedbosster has compared with the Smart Adapter II
or only benefits?
 
andigesi said:
Great, I downloaded everything, thanks!
It helps a lot to see the native footage of the FS100. There is still
a lot of colorshifting possible in post, I think, before the image clips.
Click to expand...

If you use the G-Log picture profiles, can to a lot more. I used no picture profile for a neutral comparison.

andigesi said:
Sorry, I know this is another topic in this threat, but, referring to the
movie: the Metabones Speedbooster is pretty interesting.
Ist there any disadvantage the Speedbosster has compared with the Smart Adapter II
or only benefits?
Click to expand...

No. for me no disadvantage. But if you have a EF 200mm lens, with the Smart Adapter II it will become a 300mm lens. With the Speed Booster it will be a 200mm lens.
For me it is important that a FishEye is a FishEye. And a 16mm is a 16mm. If you go wide, the Speed Booster is the way to go. If you want tele, you need the other one.
 
Great – I go for the speedbooster!

I ordered it yesterday and asked a question according shipment.
Got no reply so far and read from some people that it can take long
until you get the Metabones adapter.

What was your experience?
 
You must log in or register to reply here.
Back
Top