Using S-Log files in FCP-7

petermullett

petermullett

Well-known member
I will be having my F3 upgraded with S-Log soon and need some advice as to how to handle the "flat" files that option initially produces prior to grading. Here's my question: Is there a plug-in that those of you who are S-Log users like that will put a basic "timing" on the footage when you import it into FCP-Studio 7 so that the image looks more "normal" rather than the look of the untreated / un-corrected files?
I know everything will probably end up in FCP's Color or in a Colour Correction suite after the edit is done, but I'm trying to avoid going there initially just to get a decent image to work with.
Thanks!
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Yes Ned I saw this plug in when searching the web before I posted my question. The Pomfort website really doesn't tell you too much about it's function though, hence my posting early today. So, does it effect the file in any other way than bringing it into the Rec709 colour space? Do you still retain the full breadth that S-Log gives to the image files after you've run them through slog2video?.....No losses?
Thanks for the feedback!
Peter
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You can download the Pomfort plug-in as a trial and see what you think. I did not like it very much as it seems to over saturate the colors. I prefer Magic Bullet Looks 2.0 which has tools that let you de-log the file by modifying the "curves" function. This is also more helpful if you are not at the exact color temperature, since S-Log does not let you white balance and only offers 3200 or 5600 as options. Once the contrast is adjusted it is often necessary to make other tweeks. It works is a similar work flow as the Pomfort plug-in.

I am new to the program, but it is very easy to get started with. I use it with FCP X but it does also work with 7.

Jon
 
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I just downloaded it. It applies the correct log curve, which by design scales the video so it covers more range (add contrast)

Unfortunately, depending on the program you're using it in, this might clip your whites and blacks in a way that looks dooky (that's a scientific term). In FCP X, in particular, it might clip them, and there's no way to bring things back if you need them.

He should put some input scaling sliders in there, so if you're overexposed in your s-log (but the info is all there), you can decide where it clips (which is the whole point of s-log, deciding in post where things clip)
 
For both Slog and Arri log files, I use Magic Bullet Looks as a first step, then add a 3 way color corrector next in line and use that for further white balancing and contrast adjustments. Looks does not feed out to my broadcast monitor, so its usefulness is somewhat limited. But it is good for the curves since FCP does not offer curves as a native effect. The eyedroppers in the 3 way CC are pretty good for a quick white balance. Click on something white or gray and you should get pretty close.

I have not been impressed with plug-ins that are meant to quickly de-log the footage. LUTs seems to be OK for monitoring on set, but I always seem to need much more control in post to balance shot to shot than a LUT provides.
 
For those using Magic Bullet, are you just manually manipulating the curves or are you using some sort of preset?
 
Nate Weaver said:
I just downloaded it. It applies the correct log curve, which by design scales the video so it covers more range (add contrast)

Unfortunately, depending on the program you're using it in, this might clip your whites and blacks in a way that looks dooky (that's a scientific term). In FCP X, in particular, it might clip them, and there's no way to bring things back if you need them.

He should put some input scaling sliders in there, so if you're overexposed in your s-log (but the info is all there), you can decide where it clips (which is the whole point of s-log, deciding in post where things clip)
Click to expand...

Nate, which programme are you referring to here, Magic Bullet or Pomfort?
And in general all I am looking for is an application or plug-in that quickly gets the S-Log footage to a place where it's reasonably close to the scene as shot. I am not looking for something that would eliminate the need for a colour correcting session on the final edit. I am still a firm believer in having all that finished scene to scene colour work done in a dedicated CC suite. Spent too long in film I guess, some habits die hard, or not at all.
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The use of a plug in like Pomfort is something pretty much analogous to applying a LUT. It is useful for visualization in Rec709 space. Beyond that, I would only look to serious grading plug-ins or apps for anything more than visualization.

Within FCP 7, AE or PPro, Magic Bullet Colorista II is my favorite. The great thing about Looks is that it is based upon the Colorista engine. So you have many of Colorista's grading strengths along with a collection of Looks. I have yet to test the new Looks II within FCP 7. I have found, honestly, that the MB plug-ins don't perform as well in FCP 7 as they do in AE.

Since you are working in FCP 7, I would simply grade in Color. You can output to reference monitor through your capture card and there is nothing wrong with Color other than the fact that Apple euthanized it.

Ned Soltz
 
I think non graded s log doesn't look that "naked" - people won't be freaked out if they see it.
 
nsoltz said:
Since you are working in FCP 7, I would simply grade in Color. You can output to reference monitor through your capture card and there is nothing wrong with Color other than the fact that Apple euthanized it.

Ned Soltz
Click to expand...

I agree that for final grade, I would not rely on the Looks/3 way CC on anything other than corporate video. I use that combo when I need something quick for long form, but whenever possible will finish in Davinci Resolve with a real colorist. Used Color for a while but Resolve is so much more powerful - and of course Color is a risk for anything you might need to revisit in a couple of years.
 
If you have time, you may convert your files to cineform and apply a LUT or do a quick first light, which is non destructive.
 
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