Dave Del Real

Ha! Great description. I'm finding Standard and Cine2/Cinema work good in a pinch with minor adjustments and I think the sweet spot though is SLog2/Sgamut3.Cine with +10 Sat. Then CST in Resolve to Arri or just an ACES workflow.

Agree with Mako about the 85mm (I still need to get one myself). I currently use the 24-105, 50mm 1.8 and the 10-18 (in APS-C mode). It covers most of the bases for now, until I can grab a couple more primes and that 70-200.

Yeah, skin is tough. But Standard and 2/3 under even a full stop under if protecting highlights looks amazing. Some minor post adjustment and it really looks good.

I have the 24-105, it's fantastic. Great all arounder.

Well, might sound funny but tried Kraig Adams' settings (Standard - PP off) at 2/3 under exposed and it's amazing what you can pull out of shadows - without noise penalty. I'm now more confused. I guess if it looks good...

Or maybe it will.... https://www.sonyalpharumors.com/leaked-is-this-the-first-image-of-the-new-sony-a7siii/

Really like what this guy is doing, trying his SLog2 settings today....

Thanks for posting. Did you adjust any other settings in camera? Or is it default SLog2 but with SGamut3.Cine?

I would stay away from SGamut - too much green and difficult to adjust in post. Not sure about the external recorder thing, so far it seems a minor improvement over internal recording and not enough to justify the purchase and/or extra weight. (I know you're not asking me but thought I'd chime in) I think I'm sold on SLog2/SGamut3.Cine and the ACES IDT/Luts from Colorizer. HLG2 in 709 is okay but it seems gritty or something, I can't quite put my finger on it. Not bad, just probably not my first choice since my new found workflow with SLog2.

Picked up the ACES IDT and LUTS from Colorizer. Saved some footage with it, thanks for the heads up. I'm also liking HLG2 in 709 - wish I had tried that sooner.

Been using FCPX to edit then to Resolve for color. Yeah, I did notice the highlight saturation too when using Pro. Might have to try SLog2 with Sgamut3.Cine again with the workflows described here. Totally forgot about ACES, will try that too.

Nice, thanks. Look forward to seeing your results.Nice, thanks. Look forward to seeing your results.

Sorry, I know this subject has been beaten to death but has anybody had any success with SLog2 on the A7III? I’ve been bouncing between Slog2 and HLG3 but leaning more towards Slog2 with Pro color. HLG3 in 2020 is nice but weird in the green/blues. Was using SLog2 and Sgamut3.cine but I think Pro has richer colors. Just wondering how it’s been working out for others, I just think I’m still not getting the most out of this camera.

I wish there was a Davinci Resolve Lite (Liter?) for the iPad Pro.

I'm glad it's revived....trying this on my A7III.

Nice, thank you! Downloading now.

I really like Resolve 15, looking forward to 16. I would completely switch over if I could get my exports to look like what I see in my viewer (can't afford a calibrated monitor). How do you guys work around that?

I like SLog2 on the A7III but just wondering if HLG3 would've helped in this situation? I don't own an a6500 so I don't know if it has HLG.

Dude, you're on to something.... I just tried that workflow and the results are really, really good. Thanks for posting this.

Was this shot in SLog2?

Update: So retried in Resolve. I noticed my settings were incorrect on the first try, so I adjusted my input and output scaling and set zoom to .500 and bingo, it worked much better. The downsampling algorithm must be really good in Resolve. FCPX and Premiere Pro still look wonky (must be a Quicktime thing) but if it works in Resolve, I'm okay - and yes, I used Spatial Conform to "None" and set to 50% scale in FCPX and in Premiere Pro I right clicked the clip in the timeline and selected "Set To Frame Size." Again, same lame results in those two NLE's. Davinci Resolve it is then.

Okay, so not to derail the thread, but on my A7III when downsampling in post from 4K to 1080p, the image looks terrible. Soft and aliasing. When I had the GH4 the downsampling was great. It retained details very well. I've tried SLog2 and HLG3 but right now using Cine4 - getting the same soft result for all profiles (when downsampling in post). I do have Detail set to -6 but I think that shouldn't matter. What gives? Am I doing something wrong? Oh, and I've tried in FCPX, Premiere Pro, and Resolve. Premiere Pro seemed to give the best results out of the three but I had to use Unsharp Make at 50 and Sharpen at 20. Just doesn't seem right. Any help or suggestions would be greatly appreciated. EDIT: The 4K is amazing. I mostly shoot and deliver in 4K but there are times I want to shoot 120FPS. I'm a bigger fan of downscaling than upscaling so I thought that shooting 4K and downsampling to 1080 to match the 1080 120FPS would be the route to go. I'm thinking now that maybe I should just try to get away with shooting slo mo as 4K 30 with 120 Shutter and slow in post as much as possible without making the footage choppy... if only it had 4K 60...

Dang, just wondering how he managed focus with those primes... There's no autofocus, right?

I'm sure some folks would think it's crazy but I recently sold both of my GH4's and lenses and went back to Canon. Bought a couple of C100 Mark II's and couldn't be happier. We also use a couple of 80D's for C and D cams when needed. We shoot C-Log and we now also use an X-rite chart to keep colors and white balance in check. I like 4K and 10 bit - a lot, but I like color science, organic images, ergonomics, built in ND, XLRs, waveforms, etc better. So far, haven't needed an external recorder but will probably grab a couple of Atomos Ninja Flames to help with banding and artifacts (although we have yet to encounter that problem). Looks like a DJI Ronin S is in our future too.

I'm happy with mine (80D). Had a couple of 6D bodies and a couple of 7D Mark II bodies, sold those for a couple of Panasonic GH4's and M43 lenses. GH4's were decent, but we got tired of not being able to use the auto focus. So, ditched the GH4's about a month ago and went backwards to a couple of 80D bodies and reinvested in lenses. Sure, it's not 4K and you gotta watch for that aliasing, but we couldn't be happier. Shooting a Doc right now with them and for Gimbal work, it's priceless to have DPAF. These will hold us over until we can grab a C200 in a few months then the 80D's will be B and C cams or even just stills cams from time to time.