|
|||||||||
|
Thread Tools | Search this Thread |
March 15th, 2012, 11:44 PM | #31 |
Trustee
Join Date: Aug 2009
Location: Chicago, IL
Posts: 1,554
|
Re: Monitoring S-Log color
Thank you Henry.
After reading the user guide, it seems to be fairly complicated. Has anyone successfully created a LUT for the F3? (the program is 4 years old so I don't know if it even works with the F3's LUT system) |
March 16th, 2012, 03:51 PM | #32 |
Trustee
Join Date: Feb 2006
Location: USA
Posts: 1,684
|
Re: Monitoring S-Log color
Just saw this reply to my questioning Andy Shipsides at Abel Cine after he talked about how good the LUT's were on his tutorial. Sounds like CVP is a dead end:
"Leonard, I agree that the built in LUTs are too desaturated, because they are 1D LUTs there isn't much that can be done about that. In my next blog I'll go over using CVP File Editor to create the in-camera LUTs, but they will always be relatively desaturated. So I'm also going to show creating LUTs with an external box, the HD Link Pro. The CVP File Editor has many different functions that work with the higher end F23/F35/9000 which are locked out, but it can still be used with the F3 in a simple way. : So thus far it seems to me the current solutions are: 1- Live with desaturated LUT's if you want to bother with them at all and just treat it like film. 2 - Go with an HDLink and software for $1K + or another similar system as described in this informative link for this for using LUT's with an Alexa: http://www.negativespaces.com/blog/2...w-options.html 3. Try the poor man's solution and adjust your monitor to either an existing LUT or sLog itself. 4. To give post an idea of what you were aiming for the only thing I can see is shooting a few moments of each set-up with standard PP settings , then switch back to sLog. In the field it would be a bit cumbersome but maybe no worse than screwing around with the monitor. I'll probably play more with the poor man's monitor solution for the time being and will try to come up with Red and Blue adjustments that are equivalent to CC filter corrections. Thanks for everyone's help, and Still very interested in hearing other people's experience |
March 16th, 2012, 04:20 PM | #33 |
Trustee
Join Date: Aug 2009
Location: Chicago, IL
Posts: 1,554
|
Re: Monitoring S-Log color
Another option not mentioned is to use a monitor that supports 3D LUTs such as Eizo and Flanders Scientific.
|
March 16th, 2012, 04:43 PM | #34 |
Trustee
Join Date: Feb 2006
Location: USA
Posts: 1,684
|
Re: Monitoring S-Log color
I have a flanders 1760 which doesn't support LUT's unfortunately. Which ones do?
Last edited by Leonard Levy; March 16th, 2012 at 05:32 PM. |
March 16th, 2012, 04:49 PM | #35 |
Major Player
Join Date: Aug 2010
Location: Philadelphia, PA
Posts: 256
|
Re: Monitoring S-Log color
|
March 16th, 2012, 05:55 PM | #36 |
Trustee
Join Date: May 2003
Location: Atlanta GA
Posts: 1,427
|
Re: Monitoring S-Log color
The hdlink is $470 at b&h and the lut software is free from black magic what would you need to buy to get it up to 1k?
__________________
I have a dream that one day canon will release a 35mm ef to xl adapter and I'll have iris control and a 35mm dof of all my ef lenses, and it will be awesome... |
March 16th, 2012, 09:48 PM | #37 |
Trustee
Join Date: Feb 2006
Location: USA
Posts: 1,684
|
Re: Monitoring S-Log color
Just a guess, I thought I read that you needed another $4-500 software system . If that's not necessary I like the lower cost too. I'm not familiar with HD link at all but it sounds usefull.
|
March 17th, 2012, 03:13 PM | #38 | |
Major Player
Join Date: Apr 2008
Location: Malibu, CA
Posts: 480
|
Re: Monitoring S-Log color
Quote:
On the CVP Editor, I used to build basic gamma curves with it for my original F900/3 camera and although it was arcane and akin to witchcraft to make it work, I was for the most part successful in getting some nice curves to work. Once Steve Shaw's curves (Light Illusions) were published though, I only used those for a later F900R camera. You really need to use a test saw pattern to design any camera curve. That feature is buried in the F3 maintenance menu, I haven't quite gotten the secret handshake right to access it. So far what I've been told off the record is to turn off the LCD and close it, then hold the Cancel, Menu and push thumbwheel in to get this menu up. Anyone who has figured this out, please post because if you are planning to create a CVP curve, you will need to get to the test saw to make any progress. |
|
March 17th, 2012, 04:56 PM | #39 |
Trustee
Join Date: Feb 2006
Location: USA
Posts: 1,684
|
Re: Monitoring S-Log color
Bruce,
I agree - generally if you can get your monitor to do it, then you can get that look in post as well. Hence my willingness to adjust the monitor to SLog. |
March 19th, 2012, 09:59 AM | #40 |
Trustee
Join Date: May 2003
Location: Atlanta GA
Posts: 1,427
|
Re: Monitoring S-Log color
The other advantage of the HD Link is when you set your curve or LUT for teh tweaked output of the s-log you can transfer or copy that info over to your color correction system to use as a starting point.
__________________
I have a dream that one day canon will release a 35mm ef to xl adapter and I'll have iris control and a 35mm dof of all my ef lenses, and it will be awesome... |
March 19th, 2012, 11:28 AM | #41 | |
Regular Crew
Join Date: Feb 2011
Location: Newburg, MD
Posts: 45
|
Re: Monitoring S-Log color
Quote:
If anyone has used this setup and has any thoughts pro or con I'd like to hear them. |
|
March 19th, 2012, 11:47 AM | #42 |
Wrangler
Join Date: Jan 2002
Location: Los Angeles, CA
Posts: 6,810
|
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.
__________________
Charles Papert www.charlespapert.com |
March 20th, 2012, 04:35 AM | #43 |
Trustee
Join Date: May 2003
Location: Atlanta GA
Posts: 1,427
|
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.
__________________
I have a dream that one day canon will release a 35mm ef to xl adapter and I'll have iris control and a 35mm dof of all my ef lenses, and it will be awesome... |
March 20th, 2012, 10:34 AM | #44 |
Wrangler
Join Date: Jan 2002
Location: Los Angeles, CA
Posts: 6,810
|
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.
__________________
Charles Papert www.charlespapert.com |
| ||||||
|
Thread Tools | Search this Thread |
|