Deadcode

Omg, shocking! I have tried to match sony colors to 5d raw acr default look with the method you tried. It took almost a year to realise: you cannot do this conversion with a single LUT for every light conditions ACES conversion is the only way.

Maybe i missed that part but why dont you shoot in vlog-l? Vlog to bmdfilm color space transform is a much easier starting point

I miss the good old days, when the article contained some beautiful samples footages with the reviewed camera..

Exactly. The users do not convert S-gamut to rec709 colorspace. That is the problem.

For the used price it's awesome. But it has several flaws for today standards. Andrew wrote a good review about it in the last decade

The wierd feeling when you love the filmic colors but the fixed pattern noise and the oversharpened look kills the feeling. Could you please reupload this without sharpening and just 50 shadow level? or it's not your video?

JSFilmz did a few comparisons, and you can find the original files in the comments. It's takes about 5 minutes to match the VLOG to BRAW. GH5s is less noisy due to the internal NR, and you can't do better in post with the BRAW. He praises the BMPCC4K/6K, but he dont have to required colorgrading skill. However the BM is better looking straight out of camera.

If you are experienced enough and have pro colorgrading skill in resolve, you may reach the limitations of the 10 bit LOG footage compared to RAW. I am talking about Premiere and FCPX users who are using LUT's to grade and call it a day. Or Lumetri Color adjustements and calling yourself a colorist. You can barely reach the limitations of 8 bit log with these tools...

Fair enough response ? But at least i know how to get the most ouf of my camera RAW is way overrated, and mostly praised by people who shoot flower shots in the garden. By the way here you can see a nice raw vs 8 bit h264

The 12 bit sensor readout (in video mode) and 12 bit output is determinating the maximum 12 stops of dynamic range. As long as you are "grading with LUT's" the results will not differ from 8 bit recording.

The Tamron 28-75 F2.8 is faster than the Sony 24-70 F2.8 GM And also sharper in the middle at F2.8 vs F4 on the GM... And half the price of the 24-105 F4.. which is an exceptional lens. I think it's the best 24-105 in the market right now. I have the 28-75 and i love it.

He's not doing any color correction. He said that years ago at the weddingfilmscool channel. In the Panasonic S1H "review" he is referring to his go to settings which is Standard factory default with any camera, A7 III included. So yeah... bad sony color science and stuff...

Kraig Adams is using factory default no picture profile, Standard 0.0.0 settings, and AWB.

As you can see in my post above: it does not matter if it's above noise level and below clipping. If you dont want to do much work in post, use the wolfcrow method. Which is basically expose the skin to 70 IRE.

I shoot a few samples for you. ETTR SLOG2: 69 IRE White SLOG2: ACES conversion, and recovery: Side by side after correction both clips: Sidenote: this scene has about 3 stops DR, it's absolutely unnecessary to shoot a scene like this in slog2, but this is the best scene to show how LOG profiles works. The difference between the two clips is more then 4 stops in exposure.

What was the point here? The discussion was about shooting for 106 IRE just before clipping vs shooting for 75IRE as white. In this scene the whole dynamic range can fit in 6EV... Even my phone can handle it.

Sidenote: those gods know what are they saying, but they are working with cinema cameras. The noise floor is different and you can turn off the noise reduction. And 10 bit / raw. Mr. Chapman wrote a long article about exposing to the right with A7s long time ago. Tip: check the FX9 graded Slog3 ISO test on ProAV TV channel. It's noisy as hell... but the colors are good.

I have tested this several times. If you are working in ACES, you will get almost the same image regardless of your exposure.( after compensation) The only difference is the noise.

106 zebras is like shooting ETTR all the time, and works flawlessly most of the time, stay with that. If you are working in ACES, you can shift the exposure like in Lightroom, just dial down the offset wheel, to get proper brightness. ACES will handle the shadow/highlight rolloff. Secret tip: try those highlight/shadow sliders under lift/gamma/gain. Its siiiickk....

We were talking about it several times. Slog2-sgamut3.cine is good most of the time, even with deep blue sky. Slog2-sgamut is much nore sensitive to banding issues. Both will be problematic in premiere, but sgamut3.cine is fine in resolve. Im talking about correctly exposed 4K footage in proper WB. Underexposed 1080p sh*t with wrong WB will band like hell, the dark footage is noisy, which is smearing due to noise reduction artifacts, which will cause banding. Just keep everything important higher than 40IRE. Know your camera.

Only beginners and Premiere users are crying about banding issues with slog2 ?

All your current problems can be solved by using ACES. You have been fighting with SLOG so long now. Actually im suprised that ACES just came in to the picture with the Panasonic S1 on these forums

Slog2 with sgamut3.cine is awesome, and works like a breeze with ACES. You can download the proper ACES IDT from colorizer.net If i dont want to colorgrade, eoshd pro color v4 hdr is the winner

Thank you for sharing! It's always nice to work with RAW. However am i spoiled by todays in-camera noise reduction or this is noisy for an ISO1600 (underexposed 1EV so ISO3200) shot? /TNR and Spatial NR is already applied/

I still cant find your "already posted" example clips about the problems. Sample footages about the TemporalNR which ruined your shots at base ISO in VLOG with proper exposure, and about the "impossible to grade properly" brownish (lack of colorgrading skill, etc...) BRAW BMPCC4K shots. Could you please provide the download links to them again?