I'm I Grading S-log2 Somewhat the Right Way?

Dave Dugdale Jul 17, 2014

  1. 8 bit log is satan's work. Has been ever since the original "cinestyle" on canon 5d.
  2. I should make a T-shirt that says, We Need More Bits, Not More K.
  3. I would buy that...
    ... I'm going to ask someone to design this... Or I will :)
    Mark Weber likes this.
  4. FWIW that's about what I would have done, I have been doing a lot of work with cinestyle'd 5d's as well and getting the skin tones right is hard work. The Hue vs Sat curve in Resolve has been a great help for me at least, but hey I'm not even an amateur yet.

    Respect for a fellow Coloradoan. :)
  5. I have given up on s-log2 on the a7s. It so hard to make it work.
  6. It just seems like a stupid idea from the start. You can't stretch it back into video range without it breaking up. And it's been around for years now. Maybe ok if you want to stay with the lo con look. 8bit you got to expose ideally.
    hillary knox likes this.
  7. There should be an entire website devoted to that last sentence.

  8. The more I learn about it the more I think you guys are right.

    However that being said, I have gotten better shots with slog2 than the normal profiles in lower light situations like this one below, I am not sure why.

  9. This why the EOS Gamma Curves we developed include a LOG curve that is based on the Cineon profile, but very importantly, the profile is NOT an exact clone of the Cineon LOG profile as this compresses the dynamic range of the captured scene into a smaller range of image data than is available with the 8 bit signal, further compromising the image quality.

    See: http://www.lightillusion.com/canon_curves.html

    With this approach you do get the best possible results from the 8 bit signal chain, and this curve has been used with a lot of success on a large number of projects, from film to Yv commercials, and more.

    See: http://provideocoalition.com/aadams/story/canon_5d_shoots_kids_for_t-mobile/

  10. I had a go at grading this clip. Once again I made a point of not spending too much time with the clip: I allowed myself 5 minutes and followed my usual workflow for 5N footage: curves+levels, then WB+MB_Mojo.Then I added 200% saturation, which is never ideal: I would have shot with much more saturation in-camera, adding it in post is just asking for image issues to pop up, bringing it down is a lot easier.
  11. A bunch of us in a Facebook group were just having the same conversation about 8 bit footage. The way I left it was 8 bit footage is 8 bit footage is 8 bit footage unfortunately. You can twist and turn the contrast of it, but as someone else mentioned here, that actually just causes more issues than it helps really. Another gentlemen was doing similar tests with his GH4 and the "Cine" picture styles and eventually came to the conclusion it was better to just get in right in camera, which is exactly what others have said here. I 100% agree with Marc here. I would LOVE for camera manufacturers to come out with a moderately priced camera with 10bit 4:2:2 uncompressed clean HDMI out, than have a 4k camera (if I had to choose). Don't get me wrong, shooting neutral compared to standard on most cameras (DSLR) is ideal, but "flat" should probably be reserved to cameras who's footage isn't already so compressed.
  12. I can't see your image, can you repost it?
  13. Dave,

    This is what I was able to come up with. It wasn't too difficult to get to this point and the footage actually didn't break up too bad. What I did was head into SpeedGrade, balanced the image in the highlights, shadows, and midtones individually. For some reason that gave her skin tones a slight magenta overcast so I pulled that back a little bit in secondaries. I then added some saturation (I didn't actually even have to add too much, just to give it some punch.) Also added some midtone contrast. The thing I didnt expect was how overly saturated those yellow lights were! I had to go in and do a secondary on those and pull that back a little.

    The only other thing I would do (if I had more time) was adjust the sky so that it was at 100 IRE because looking at the footage and the scopes it appears to be clipped, and I noticed that unless your roll of the saturation, or give it a nice highlight rolloff, it just turns to this weird milky color instead of pure white.

    Anyway, once I had the footage balanced, the rest of it was just little fine tuning. Forgive my low-ish quality jpeg screenshot :) I think your technique was fine. I just think you might have went a little too warm.

  14. Thanks David for sharing your grade and what you did with it, I am learning with everyone's comments here.
  15. Just picked up an A7s

  16. I am not 100% happy with the tone on his fur, I graded this in Resolve with NO LUT and some hue vs sat curves and contrast, etc.
  17. Low light slow motion

  18. Very very low light....


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