How to correctly expose Sony a7s II when using Pro Log and Pro Log S?

[Alex Simpson]

Hi there,

Just a quick question here to find out the correct way to make sure my exposure is spot on when shooting with the Pro Log and Pro Log S picture profiles on the a7s II?

Do I slightly over expose and pull it down again in post?

Does anyone use the built in Gamma Assist feature on the a7s II or does that throw people off?

Many thanks,

Alex

[Andrew Reid]

If you're using the on-screen exposure meter as a guide then 1.5 to 2 stops to the right for Pro LOG S as it is S-LOG based, and for Pro LOG Cinema you can expose as normal in the middle at 0, or maybe even slightly under - depending on if you want to protect the highlights.

[Don Kotlos]

I would just add that while 1-2 stops is a good rule of thumb, there are scenes in which you don't need bright shadows but you keep the highlights so normal exposure of slog can be preferable   Like night shots or with late sunset light.

[Alex Simpson]

Great thanks guys that's very helpful

[jax_rox]

Use a waveform monitor. Or false colour can be used in a pinch if you have it set right. I know you'll need an external monitor for those. If you don't have them, you'll need to test.

Without knowing what you mean by your exposure being 'spot on', it's very difficult to advise. 

[tomsemiterrific]

On 10/9/2017 at 4:38 AM, Andrew Reid said:

If you're using the on-screen exposure meter as a guide then 1.5 to 2 stops to the right for Pro LOG S as it is S-LOG based, and for Pro LOG Cinema you can expose as normal in the middle at 0, or maybe even slightly under - depending on if you want to protect the highlights.

So, Andrew, I've really been enjoying the results of these 3.0 offerings--much better than Sony color OOTC.  I've gotten some nice comments on how well the color looks--how natural they are....-but I do have a question about Log cinema and LOG S and the use of LUTs you provide for each.

Specifically,, the various Log S LUTs don't seem to match well with the LUTs you provide for Pro Log Cinema.

I recently did a video where I shot mostly Pro Log Cinema. But there were a few instances I really needed more dynamic range to protect the highs so I shot a few clips with Pro Log S. When I got them in my grading program I really had a bit of trouble matching the Log S color with the Log Cinema.

Where am I going wrong, or what would you suggest would work well to match the mixed footage in post?

[EthanAlexander]

1 hour ago, tomsemiterrific said:

So, Andrew, I've really been enjoying the results of these 3.0 offerings--much better than Sony color OOTC.  I've gotten some nice comments on how well the color looks--how natural they are....-but I do have a question about Log cinema and LOG S and the use of LUTs you provide for each.

Specifically,, the various Log S LUTs don't seem to match well with the LUTs you provide for Pro Log Cinema.

I recently did a video where I shot mostly Pro Log Cinema. But there were a few instances I really needed more dynamic range to protect the highs so I shot a few clips with Pro Log S. When I got them in my grading program I really had a bit of trouble matching the Log S color with the Log Cinema.

Where am I going wrong, or what would you suggest would work well to match the mixed footage in post?

Based on my tests, using Pro Color +1 and Pro LOG matches very well with Wide DR 1 and Pro LOG S. You'll still want to tweak them but they're close. You can see in this vid:

 

[tomsemiterrific]

2 hours ago, EthanAlexander said:

Based on my tests, using Pro Color +1 and Pro LOG matches very well with Wide DR 1 and Pro LOG S. You'll still want to tweak them but they're close. You can see in this vid:

 

Thanks. Yes, that's really helpful in seeing how closely they conform.

Different strokes for different folks, but I really like the look of Pro Color Classic. I'd really like to see how a vectorscope reads with that profile. My guess is the red would read well to the left of the skin tone line.

The sections I was thinking of in my video was not concerned with skin tone, per se, but with the general land scape or scene. Below is what I'm talking about.

2:43: graded Pro Log S, 2:47: 2:49 Pro Log S, Pro Log (Canon Log) with pro color -1, 2:51 Pro Log S graded,  2:53 Pro Log w/ pro color -1.

All shot with Sony a7sii and Canon FD lenses.