Re: Monitoring S-Log color
 

I've been looking at solutions and the HDlink with HDLink utility software (comes with the unit) does 3D LUTs and seems like the way to go, Sony's CVP Editor is out of date, does 1D LUTs and only works on a 32bit OS. I've attached the HDLink hardware and software instructions location; http://www.bhphotovideo.com/lit_files/20003.pdf



If anyone has used this setup and has any thoughts pro or con I'd like to hear them.

Re: Monitoring S-Log color
 

I used the HDLinks on "Key & Peele" last season with the F3's (because we were shooting 422 S-log and at that time all of the outputs were s-log) and we were able to dial in most of our looks with the HDLinks.There are some definite quirks to the software and it's pretty basic but certainly if all you want to do is create a Rec709 look, it's fine for that.

For more intensive work, definitely take a look at the LiveGrade software which greatly expands the capability of the HDLink:

Pomfort - LiveGrade: Interactive Look Control via SDI

I haven't had the chance to use this on set but my DIT likes it so we will be using it for season two. You can click a checkbox to immediately enable a Rec709 LUT.

Re: Monitoring S-Log color
 

Yeah one of the other DIT's here in town has been playing with the pomfort software and told me to check it out. I haven't had the need to yet, but the prospect of doing live grading through a 500 dollar box instead of an $$$$ truelight box is appealing. Though in all honesty most of the people that the monitors seem to be set up for are absolutely fine with a rec709 look and a lot of the DP's I've worked with are more interested in doing the intensive color grading in a controlled environment in post. But it's still a cool option to have.

Re: Monitoring S-Log color
 

Setting a LUT on set doesn't supercede what will happen in the color session, it does mean that the footage going to editorial and dailies will get an approximation of the final look so it's not a surprise for anyone at the end, plus there are many instances especially in TV where the DP can't attend the color session. I was fortunate to be able to make mine on my show but we weren't on a quick turnaround to air.

We are just starting to design our workflow for season two and I will report back how everything works out.