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Paul Rijkaard
s log 2??
on Nov 10, 2014 at 10:37:33 am

Hello

I am struggling to find online resources to help define a suitable grading workflow.

I am using footage shot on sony FS700 with s-log2 profile. For the sake of offline I have been working with pro-res proxy files using native slog 2 profile.

Now it's time to grade and I am confused as to best workflow for my task. I understand that s-log 2 provides the greatest possible colour range (potentially at least), but fail to believe that once a pro-res 444 is baked from the raw file that this can contain any more potential colour range than Rec 709.

I have experimented and find that 709 is too saturated with too much contrast for my likes, instead would prefer to work with something a little bolder than the native s slog 2.

Can someone help me out here? I still find it difficult to believe in Raw video, even though I am well versed in (still) camera raw. If i bake 709 at the start of the process, will it give me fewer colour options when I come to grade? are there any good resources for this to read more?

workflow i am currently preparing for online:

sony raw viewer: Raw > pro res 444 (slog 2 or 709)
edit in premiere
grade in speed grade or resolve

many thanks

Paul



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Marc Wielage
Re: s log 2??
on Nov 11, 2014 at 2:40:25 am

[Paul Rijkaard] "I understand that s-log 2 provides the greatest possible colour range (potentially at least), but fail to believe that once a pro-res 444 is baked from the raw file that this can contain any more potential colour range than Rec 709. "

It can, but it depends on how the ProRes files were prepped. The key to me is to make sure the SLog files are adjusted correctly for color temperature and ISO, assuming the exposure is reasonable. When there's no time to create ProRes 444 files, SLog2 or SLog3 decoding can yield a reasonable result. I don't think there's a massive difference from Arri LogC or even RedLogFilm... it's all in the same ballpark. You can either come up with a curve/gamma setting to push it down into Rec709, or you can use a LUT to essentially accomplish the same thing. I prefer to do it manually to avoid clipping or crushing anything early in the chain.

I think the right question to ask is "can ProRes files made in Log space have the same color range as the original Raw files." And the answer is "it depends." In perfect circumstances, I think it's very close.


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