Dave Maze Posted July 2, 2016 Share Posted July 2, 2016 21 hours ago, majoraxis said: @DaveAltizer - Loving it as as well. Seems like we are seeing the maximum quality 8 bit 4:2:0 can give with an 11bit equivalent log file. It not only grades easy, but does not seem to fall apart like S-Log with standard settings. I really appreciate you sharing this profile - Thank you! You bet! It gives you that color depth that is missing from normal s_log. I've always felt the Sony stuff I see online was missing that "thick" color that you get naturally from canon and Blackmagic. majoraxis 1 Quote Link to comment Share on other sites More sharing options...
Geoff CB Posted July 2, 2016 Share Posted July 2, 2016 Yeah I'm loving this profile. Dave Maze 1 Quote Link to comment Share on other sites More sharing options...
Inazuma Posted July 2, 2016 Share Posted July 2, 2016 Does anyone know what Color Phase and the Color Depth settings do? I'm not seeing any visible differences as I alter them. Same with some of the other settings too Escapist 1 Quote Link to comment Share on other sites More sharing options...
Dave Maze Posted July 3, 2016 Share Posted July 3, 2016 4 hours ago, Geoff CB said: Yeah I'm loving this profile. I love that everyone is loving this. Quote Link to comment Share on other sites More sharing options...
Geoff CB Posted July 3, 2016 Share Posted July 3, 2016 15 hours ago, Inazuma said: Does anyone know what Color Phase and the Color Depth settings do? I'm not seeing any visible differences as I alter them. Same with some of the other settings too http://helpguide.sony.net/di/pp/v1/en/contents/TP0000909111.html Quote Link to comment Share on other sites More sharing options...
dafreaking Posted July 4, 2016 Share Posted July 4, 2016 Quick question. Is anyone getting noisy shadows with these recommended settings. I did a quick check as I have a shoot tomorrow and using the settings on an A7s2 I can see a lot of noise in the viewfinder and monitor. Haven't had the time to check the stuff on a computer properly but just wanted to put this out there. Quote Link to comment Share on other sites More sharing options...
Geoff CB Posted July 4, 2016 Share Posted July 4, 2016 1 hour ago, dafreaking said: Quick question. Is anyone getting noisy shadows with these recommended settings. I did a quick check as I have a shoot tomorrow and using the settings on an A7s2 I can see a lot of noise in the viewfinder and monitor. Haven't had the time to check the stuff on a computer properly but just wanted to put this out there. Remember to over expose by a stop or two and drop exposure a bit in post. Doing the reverse will result in more noise. Quote Link to comment Share on other sites More sharing options...
majoraxis Posted July 5, 2016 Share Posted July 5, 2016 I am not finding it noisy on the A6300. I am exposing over 1.5 to 2 stops. Also, in Premier I am using the Brightness & Contrast video effect and I turn up the contrast up to 50 (from the default which is zero) and that is my decoding "LUT" rather that using the S-Log 2 LUT. Then I adjust the brightness if it look too hot to bring down the highlights. If I do have to lower the brightness (to save the highlights) then I add the Lumetri color correction video effect BEFORE the brightness and contrast video effect (or you will not be able to bring the shadows back after crushing them with contrast) and raise the black level first and then the shadows to uncrush the blacks. That said, increasing the contrast in the brightness and contrast video effect in Premier is also increasing the saturation and reducing brightness (when using the ProcAmp video effect that treats contrast and saturation separately - they both have to be turned up in equal amounts (to 200) and turning the ProcAmp brightness down to -50 to have the same effect as turning up the contrast up to 50 in the Brightness & Contrast video effect), so if you are trying to dial in your external monitor, depending on how your external monitor handles saturation and brightness when you increase contrast, you may have to increase saturation as well as contrast and decrease the brightness to get an image that looks color corrected. Theoretically, if your monitor has a broad enough range for its contrast, saturation and brightness settings, you should be able to "decode" The Sony Profile without a LUT. Quote Link to comment Share on other sites More sharing options...
majoraxis Posted July 5, 2016 Share Posted July 5, 2016 Sorry being over optimistic in my last post about using simply brightness, contrast and saturation to dialing the color correction. Seems like the S-Log 2 or S-Log 3 LUT (in Premier) is a good starting point as an input LUT and adjust from there. Dialing in your monitor with brightness, contrast and saturation in a controlled light situation can be a benefit, but because of the log nature of the footage, changes in exposure and lighting change it perception of contrast etc so it will not be reliable without LUT under non-controlled lighting situations. It's a great profile that is can be more easily monitored with non LUT monitor as compared to standard S-log profile, but caution is advised when dialing things in with brightness, contrast and saturation in post or with external monitors due to the log nature of the footage. Mark Quote Link to comment Share on other sites More sharing options...
Inazuma Posted July 6, 2016 Share Posted July 6, 2016 I'm finding the "narrow" black gamma to be noticeably noisier in the shadows than Middle or Wide. Geoff CB 1 Quote Link to comment Share on other sites More sharing options...
Geoff CB Posted July 7, 2016 Share Posted July 7, 2016 I've been getting great results from these profiles. His modified S-LOG works well and his simulated Canon profile gives great color but less DR Quote Link to comment Share on other sites More sharing options...
dafreaking Posted July 9, 2016 Share Posted July 9, 2016 Hey guys, any specific LUT for the aforementioned Picture Profile/Setting. The Slog 2 one in Lumetri looks horrible Quote Link to comment Share on other sites More sharing options...
Inazuma Posted July 9, 2016 Share Posted July 9, 2016 2 hours ago, dafreaking said: Hey guys, any specific LUT for the aforementioned Picture Profile/Setting. The Slog 2 one in Lumetri looks horrible The vision color ones (the ones made specifically for Sony) are pretty good I'm finding but I prefer FilmConvert. Also I have made a LUT for Panasonic cameras that incidentally works quite nicely with this slog setup Quote Link to comment Share on other sites More sharing options...
dafreaking Posted July 9, 2016 Share Posted July 9, 2016 6 hours ago, Inazuma said: The vision color ones (the ones made specifically for Sony) are pretty good I'm finding but I prefer FilmConvert. Also I have made a LUT for Panasonic cameras that incidentally works quite nicely with this slog setup Cheers! <Aybe you want to share it :D? Quote Link to comment Share on other sites More sharing options...
mirekti Posted November 30, 2017 Share Posted November 30, 2017 On 6/29/2016 at 2:42 PM, DaveAltizer said: Bro. I have found the best profile! I've shared it with so many people because they all want it it's so good. it's got a very "Canon" look to it and it grades so nicely. It really adds a ton of depth to the image that lacks in the normal Sony profiles. It's all about that "color depth". THE SONY PROFILE Black Level: 0 (it's disabled in s-log2 anyway) Gamma: S-log2 Black Gamma: Range- Narrow, Level -7 Knee: auto Color Mode: sgamut3.cine Saturation: +32 Color Phase: -2 (this is for a7sII and a6300, for original a7s use -5) Color Depth: +6 (all of them) Detail: -6 Expose 1.5 to 2 stops over. You may need to dial the green tint out in the white balance shift. Let me know how you like it. I found this profile somewhere on dvxuser and have fallen in love with it. Now all my friends shoot on it Isn't increasing the saturation and color depth actually reducing the dynamic range? I was thinking it was supposed to be left at default values, adjusted in post, and the only and most important thing about sLog2 is to overexpose by 2 stops. Quote Link to comment Share on other sites More sharing options...
Dave Maze Posted December 1, 2017 Share Posted December 1, 2017 3 hours ago, mirekti said: Isn't increasing the saturation and color depth actually reducing the dynamic range? I was thinking it was supposed to be left at default values, adjusted in post, and the only and most important thing about sLog2 is to overexpose by 2 stops. I made this profile before the EOSHD Sony 3.0 profile was out. If you want the best image use his profile. It looks the best. mirekti 1 Quote Link to comment Share on other sites More sharing options...
mirekti Posted December 1, 2017 Share Posted December 1, 2017 10 hours ago, DaveAltizer said: I made this profile before the EOSHD Sony 3.0 profile was out. If you want the best image use his profile. It looks the best. Cool. Do you perhaps know if EOSHD Pro Log document was done under assumption the footage would be 1-2 stops overexposed as Slog2? I was thinking of putchasing Pro Log just to have a good starting point with Slog2, but grade using ACES in Davinci. Quote Link to comment Share on other sites More sharing options...
EthanAlexander Posted December 1, 2017 Share Posted December 1, 2017 5 hours ago, mirekti said: Cool. Do you perhaps know if EOSHD Pro Log document was done under assumption the footage would be 1-2 stops overexposed as Slog2? I was thinking of putchasing Pro Log just to have a good starting point with Slog2, but grade using ACES in Davinci. Yes, Pro Log S is designed to be overexposed just like you would regular S Log 2. mirekti and Mark Romero 2 1 1 Quote Link to comment Share on other sites More sharing options...
JoshFromPerth Posted July 23, 2019 Share Posted July 23, 2019 Can someone pass comment on how one might expose / grade anything in the surf where you're dealing with verrrry bright highlights, not a lot of darks, and often very little difference between the ocean and sky / horizon line. Using the aforementioned profile I got some terrible results exposing to +2, but even dropping to +1 everything is still very difficult to pull back from the flat, crushed blacks look the aforementioned profile provides.. Quote Link to comment Share on other sites More sharing options...
Deadcode Posted July 23, 2019 Share Posted July 23, 2019 3 hours ago, JoshFromPerth said: Can someone pass comment on how one might expose / grade anything in the surf where you're dealing with verrrry bright highlights, not a lot of darks, and often very little difference between the ocean and sky / horizon line. Using the aforementioned profile I got some terrible results exposing to +2, but even dropping to +1 everything is still very difficult to pull back from the flat, crushed blacks look the aforementioned profile provides.. If a gopro can handle those situations it means it does not require log profile. Can you share a short clip? Quote Link to comment Share on other sites More sharing options...
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