- CANON LOG2 LUT DAVINCI RESOLVE UPGRADE
- CANON LOG2 LUT DAVINCI RESOLVE FULL
- CANON LOG2 LUT DAVINCI RESOLVE ISO
CANON LOG2 LUT DAVINCI RESOLVE FULL
I am still experimenting with fine tuning the S-LOG 2 profile in-camera, where a full suit of options from Sony’s pro video cameras is offered. 1/50 for fast handheld camera movements is much too blurry for my liking. The other issue is of course you will need strong ND filtration to get exposure at 180 degree shutter angles in bright light and at bright apertures, though for handheld footage you should consider using a higher shutter speed. The Atomos Shogun thankfully will have support for LUTs so you can monitor off the final graded image while shooting with that. Unfortunately nailing the perfect exposure is very tricky without any LUT applied to the image on the camera live-view and grading S-LOG is tricky if you’re a beginner.
CANON LOG2 LUT DAVINCI RESOLVE ISO
Also to not have to think about what ISO you are using, unless shooting in extremely dark situations simplifies the shooting experience with S-LOG 2. The biggest single advantage of SLOG 2 though is the flexibility you have to apply your own curve and look to the image in post, as well as the dynamic range gain over the standard picture profiles, which is significant.
Undoubtedly the full pixel readout of the sensor helps here too, as pixel binning can cause banding to worsen. At ISO 200 without SLOG the sensor is so squeaky clean that there’s nothing to dither the 8bit image so it has the same banding issues as the Canon 1D C under ISO 400. ISO 3200 introduces a very subtle grain to the image, helping to dither areas of gentle roll off and gradient. All that subtle opal colour and detail just popped right out. Amazingly despite being 8bit, with S-LOG it doesn’t. I had expected the XAVC-S codec to show some banding in the sky on this shot. The A7S is now my preferred choice over 5D Mark III raw video, because the image is as good yet the file sizes, EVF and even better low light ability make it more practical.Ībove: S-LOG 2 graded with EOSHD Dynamic LUT (top) and ungraded (bottom) In my shootout with 5 other cameras (coming soon) I also tested 5D Mark III raw and it is very surprising just how similar colour and tonal range look between raw on that camera and H.264 on the A7S considering the gulf in bit depth and file sizes between the two. The A7S files graded far better than my FS100 (and therefore FS700) and usable dynamic range exceeded what I was able to get with my Blackmagic Pocket Cinema Camera with ProRes. In 99% of cases they graded just as well as ProRes recorded externally from the cameras HDMI port to the Atomos Ninja Star which says a lot about the quality of the encoder Sony have put in the A7S here. What really surprised me is how well the XAVC-S files grade from S-LOG. It is much harder to match the GH4 with CineLike, or a Canon DSLR (unless shooting raw). For me, creatively, this is a revelation.īeing a widely used standard LOG curve S-LOG means you can more easily match shots from the A7S to other Sony cameras with S-LOG such as the FS700, F5 and F55. In fact it is so clean that at ISO 12,800 the image looks like ISO 800 on most other cameras.
Otherwise the sensor is extremely clean at the native ISO of 3200. Only if you do something wrong in the grade or with your exposure do you get noisy shadows when shooting S-LOG. The codec grades remarkably well without the usual banding over skies and heavy noise in the shadows. It is better than Technicolor CineStyle on Canon DSLRs and better than CineLikeD on the GH4. S-LOG 2 on the A7S is the most effective LOG picture profile that has ever been made available for any DSLR. For the Dynamic and Vivid LUTs you must set the camera colour mode in PP7 to ITU709 Matrix. S-GAMUT is for when shooting S-LOG with the Color Mode of S-GAMUT and compensates for the purple tint to reds I find I am getting in this mode. Dynamic – for best dynamic range, will suit a low contrast shot requiring high dynamic range and plenty of shadow detail. Also good for low light. Vivid will give a punchier look to those shots that benefit from it like a sunset and where some dynamic range can be scarified for higher contrast and saturation. for an instant cinematic look to your A7S S-LOG 2 footage. I am sharing a pack of LUTs for the A7S which can be applied in Premiere, Resolve, etc. Now Sony have put this on a $2500 consumer camera along with the best full frame sensor I have ever used for video. S-LOG made its debut on the Sony F35, a workhorse of Hollywood.
CANON LOG2 LUT DAVINCI RESOLVE UPGRADE
Only a few years ago S-LOG was a $3800 upgrade for the Sony CineAlta F3, itself a $15,000 camera.
0 kommentar(er)
