Sony Slog2 To Rec709 Lut
Sony to Canon LUT Package. These LUTs are made for Slog2 and Slog3 gammas with S-Gamut3.cine color space. No curve to REC709 Sat - this LUT is gamma independent. It means that it only transforms color & saturation without affecting contrast. You can use this LUT in combination with contrast slider or curve. If I could do it again though, I would shoot the rec709 profile as much as possible. Most paid LUT packs will include both rec709 and generic LOG versions of each LUT anyways, so it's still simple enough to roughly match your graded clips in post.
Resolve is quite simply the best grading tool out there for A7s footage as amongst other things it lets you adjust tones just in the luminance ( Y) channel without it effecting the colours which greatly helps in achieving natural looking grades and good skin tones. Even the latest Luminetri colour control in Premier Pro doesn't grade A7s footage very well although you may find that PP is a better editing software but you can 'round trip' between PP and resolve quite easily. I use PP to edit and Resolve to grade. If you must use LUT's check out 'Casey Wilson' Davinci Resolve looks amazing but has a huge learning curve. Can you recommend any good tutorials for it?
We DSLR filmmakers don’t care about that “flat” look as long as we get as much as possible out of (or into) the 40mbits of H.264 compression of our cameras. In professional filmmaking on so called digital cinema cameras they have been using these LOG modes from the start in order to get best results. Also analogue film captures logarhitmically if you care to know, so it seems to make sense to go through all this. To make our lives easier in post production we apply a LUT curve to our unnaturally flat looking “raw” material. Basically it’s an inverted curve to your CineStyle curve, to make the curve linear again.
Sony Slog2 To Rec709 Luther
I would second the recommendation from to only record slog2 when you exceed the DR of a rec709/cine picture profile. The A7r2 records compressed 8-bit 4:2:0 footage in 4k internally, which just doesn't really stand up that well to the kind of aggressive grading you need to apply to log footage. Think of it this way - when you're shooting timelapse stills, you get 14-bit RAW files with no chroma subsampling. These stills can stand up to an incredible amount of adjustment in post because there's so much information recorded. In comparison, shooting with an 8-bit codec, you have 64 times less information to work with, and that's before we even take into consideration the effect of 420 subsampling and compression to 100mbps. Not only that, but you have to grade the resulting image much more aggressively than you would a RAW still to get them to look right.
The 8-bit codec breaks apart when you start grading it. Initially I hoped that it had something to do with not using a LUT specifically designed for SLOG3, so I upgraded my Impulz LUTs to the 'Ultimate' Package (which includes the SLOG3 LUTs) and I ordered James Miller's set of Deluts for SLOG3. When I applied those SLOG3 specific LUTs however, the problem still existed, under certain conditions you see some nasty banding in the highlights. Finding a solution I tried several things to find a solution for the banding problem: • Use different ways of exposing, have the highlights anywhere between 100% and 70% zebras • In post, using grain to hide it • Changing Knee values in the SLOG3 picture profile • Shoot in SLOG2, convert to SLOG3 with a LUT and then use the SLOG3 LUTs. None of them worked. The solution to avoid banding on the A7sII Instead of shooting in SLOG2 or 3 I changed the Gamma settings to CINE4 and the color mode to S-Gamut3.Cine.
Has anyone found something else they really like and recommend? I have use DaVinci to create a LUT and then import it in FCPX. Or I will create correction in Color Finale. Take a look here, they have LUT importer utility and plugins and tutorials.
What program do you use to edit your a7RII videos? Davinci Resolve?
The Cinegammas are very useful for challenging lighting conditions as they offer an improved highlight roll-off. As well as the Cinegammas the camera also has the S-Log2 and S-Log3 log gamma curves as well as S-Gamut, S-Gamut3 and S-Gamut3.cine. Log gamma curves are very different to conventional gamma curves.
I've tried James Miller's 'Hyde Park' and his other Sony LUTs but they seem too dark and washed out for me. Has anyone found something else they really like and recommend? What program do you use to edit your a7RII videos? Davinci Resolve? I'm guessing you're shooting 'picture profile 7' slog profile? The LUTs you mentioned are the only ones I have found so far.
And something that gives good editing control at the top and bottom ends. So far I get the best results with Alister Chapman's basic AC_A7S_709_.cube or his AC_A7S_709800.cube. I've tried James Miller's 'Hyde Park' and his other Sony LUTs but they seem too dark and washed out for me. Has anyone found something else they really like and recommend?
Some of the highlights are either blown or close to clipping on the harsh backlight at to especially on people walking by with white or light coloured clothes but I was mainly exposing for the coffee vendor and people walking. 1;11 to - this was a wide dynamic range shot in which you can spot some purple fringing on the top near the bridge and clouds as i did over expose with 2+ stops, which was how I shot most of this footage. I found there is a sweet spot between 2 and 3 stops over in Slog2 on the RX10 II where I can pull back some of those highlights and bring up the shadows without too much noise and clipping.
Right now I'd like a good video look, not a film look, with a LUT that gets close enough to minimize color editing. And something that gives good editing control at the top and bottom ends. So far I get the best results with Alister Chapman's basic AC_A7S_709_.cube or his AC_A7S_709800.cube.
Neither is ideal, but I know which is going to look better. 18 shades per stop is woefully low.
Keeping your whites around 70% range seems to be the sweet spot to bring back the skies (plus or minus depending on the comp) but the whites will display at ~90% on the waveform with the rec709(800) kicking in (using an external monitor/recorder like the Assassin) Never underexpose when shooting log like Alister mentioned ~1.5x over middle grey is a happy medium as well for s-log3 so good luck! I like s-log3 because the curve is very close to Cineon in which you can apply a film post workflow (creating the film scan from he negative LUT which mimics your Cineon, then apply the film of choice LUT for print and viewing while you’re tweaking in the middle) no problem using impulzLUTS and the method they outline. Fun and creative!
Because log gamma no longer needs to have a contrast range that matches the display range, more dynamic range can be squeezed into a conventional recording codec. It also means that there is no longer a need to use any highlight roll off or knee, so there is a lot more picture information in the highlights and brighter parts of the image. As a result exposing log gamma extra brightly is not normally a problem and in many cases brings lot of advantages. Log gamma curves do have a shadow roll off that mimics the real world shadow roll off. As a result log gammas really don’t like being under exposed, instead they prefer to be over exposed. So unlike conventional gamma where we “protect the highlights” with log gamma you need to “protect the shadows”.
Would love to know some others. Roses wrote: Charles Hull wrote: I'm looking for the best LUTs for the A7RII Slog2 profile. Right now I'd like a good video look, not a film look, with a LUT that gets close enough to minimize color editing. And something that gives good editing control at the top and bottom ends. So far I get the best results with Alister Chapman's basic AC_A7S_709_.cube or his AC_A7S_709800.cube.
That would just be great and make things so much easier. Or is there another way to get to the same result?
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They will be easily distinguished from its predecessors on the number of the form 7xx. Integrated Graphics Radeon VLIW4, of course, will be disabled.
ISO today is not “light” and the only two things your sensor is concerned about is IRIS and shutter speed. Your sensor doesn’t know or even care about what ISO you are using.
The parts of the image where all the important stuff in most scenes resides. With a 10 bit camera this would not be a problem but with an 8 bit camera it becomes important as with S-Log2 you have around 25 code values per stop above middle grey but only 18 code values with S-Log3. In both cases below middle grey there are even fewer code values per stop for both. 18 code values is very, very little data to describe a full stop of exposure. Consider a face which will typically have around 2.5 stop range. Do you think it is better to have 45 code values or shades (S-Log3) to describe the subtle textures that make a face look good or better to have 63 shades (S-Log2).
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But as we don’t currently have display technologies that can show this (even current HDR displays cannot show this), from a perceptual point of view this is rarely a concern at up to +2 stops unless you are shooting very bright extremely high contrast scenes. With a 14 stop range and no highlight roll-off the loss of 1 or 2 stops of headroom by deliberately over exposing is rarely an issue. In part because again we have no way to display a 14 stop image and even if we did it would be uncomfortable to view these super bright highlights.
I just turn it off when I’m in between shots works fine but hey, you’re getting 6K to 4K clips! Very compact and ergonomic in my hands, yet feels healthy.
Sony Slog2 To Rec709 Lutheran
Alister, You provide some great some great information here. I’m really doing my best to fully understand the sony gammas and color modes and have done tons of reading online. Can you quicky look over the custom pp settings given here and give your opinion on them.
18 code values is very, very little data to describe a full stop of exposure. Consider a face which will typically have around 2.5 stop range. Do you think it is better to have 45 code values or shades (S-Log3) to describe the subtle textures that make a face look good or better to have 63 shades (S-Log2). Neither is ideal, but I know which is going to look better. 18 shades per stop is woefully low. Under expose either and the situation becomes much worse. Next consider noise and grain.
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If you find these LUT’s useful please consider buying me a coffee or a beer. I’m not paid to write these articles.
Everyone else uses the Neat Video plugin for noise reduction. As soon as you get into low light video, noise reduction s/w is a miracle. Charles Hull wrote: Promit wrote: EosHD is offering some profiles: Flat but not based on S-Log. Haven't tried them myself. I saw that, but haven't tried it yet.
Please explain in detail why you don’t think S-log should be over exposed? As the writer of the official Sony guides to S-log about to be publish on the Sony global website, commissioned and approved by the engineers that developed S-log, I’m curious as to why you think the information here is incorrect? Why only use it in 4K? What exactly is the “issue of S-log2” that S-log3 is made to avoid. Both S-log2 and S-log3 are log gamma curves. Above middle grey both perform in a broadly similar manner with no highlight roll off and more or less the same amount of data per stop. Below middle grey S-log3 allocates a bit more data to the darker stops than S-Log2 which has the side effect of making S-log3 appear noisier and lower contrast (but it isn’t actually noisier) and S-Log3 is more linear above middle grey, but these are minor details compared to S-Log3’s biggest problem with an 8 bit camera and that is it’s restricted recording range and as a result lack of data above middle grey.
You’re sitting at the theater watching the latest Michael Bay film when you realize, “I wish my wedding films had an over-saturated bride and groom fighting giant robots!” Well I have good news for you, I can help with one of those things. And no, its not CGI giant robots, you’ll have to learn Cinema4D for that.
Get 100 photographers into a room an ask them this question: “Camera 1 is at 1/60 shutter, f2.8 and 200 ISO.Camera 2 is at 1/60, f2.8 and 800 ISO.which camera is exposed to more light?” (same model and lens) I’d guess that prolly 90% of them would say “camera 2” when the answer is neither! Both camera’s sensors are getting the exact same amount of light hitting them. Back in the film days, ISO 200 stock was “chemically” different than ISO 1600. That truly does represent a real “sensitivity” change. Since digital cameras don’t allow you to change out our sensor, you are stuck with a sensor that always has ONE fixed sensitivity. (Unless you can get a soldering iron and glue a different one in) This is important: When you spin your camera’s ISO dial, you are amplifying the wave form that your sensor is already FINISHED with. Your sensor has captured it’s light and converted it to digital “video” and sent it down the pipe for you to turn the “volume” up if you wish.
Also, consider the technical limitations of being stuck at a minimum ISO of 800 in slog3 mode on the A7r2 without a built-in ND filter. This means in bright daylight you're basically losing 2 corners of your exposure triangle, so you'll likely have to compensate with a variable-ND (more hassle to deal with) or by sacrificing the ability to choose a specific aperture setting for creative effect. I'm not saying all your log footage will look like trash automatically. In fact I just finished shot on an RX100m4 where all the realtime day shots were slog2. The RX100m4 shoots the same 100mbps 8-bit 4:2:0 codec in 4k as the A7Rii, and after the grade the daytime shots aren't awful, just not as good as they could have looked.
I'm not quite tready to plunk down for Adobe Premier because I'm so new to video. Resolve 12 does have some advanced timeline editing, but as far as I'm aware it's more often used for color grading? What do you think of it in comparison to Premiere? My experience with video editors is that it is all about the learning curve. You might want to just jump into Resolve (I probably would in your case). But if you change later there would quite a bit of re-learning.
It does not work good on all the material. It is highly recommended to use the LUT with power windows (rough masks). Blending with the unprocessed image is recommended.
Your camera also has fine tuned image processing that is customized for each ISO setting. It’s got noise reduction that is made for that sensor’s noise characteristics when the camera adds a certain amount of ISO/GAIN to the sensors image. These are conveniences that you get in camera when you ramp up the ISO.
For most camera operators it’s quite disconcerting to start shooting very slightly over exposed as it goes against everything you’ve learnt about shooting with a conventional video camera. But trust me, shooting 1 to 2 stops brighter than the recommended levels given by Sony on the A6300 (and any other Sony Log camera) will normally bring the best results. I wrote a guide on how to do this with the Sony A7s here: The very same techniques can be used with the A6300, A7SII and A7RII. The A6300 etc also have S-Log3, but as these are 8 bit cameras (even when using an external recorder) I would still recommend that you use S-Log2. Besides, viewing and monitoring S-Log3 is tough as the pictures look even flatter than S-Log3. If you follow the link below you will find a set of LUT’s (Look Up Tables) that can be applied to A6300 footage in post production to give different looks. There are some film-look LUT’s and 709 (normal TV look) LUT’s and in each case there are LUT’s for normal exposure as well as footage exposed 1 stop and 2 stops brighter.