How to Grade SLog Footage
HTML-код
- Опубликовано: 1 мар 2023
- In this video, I share my solutions and techniques for effectively grading Slog footage from Sony cameras in DaVinci Resolve, including what to look out for with the nuances and details that come with grading Slog material, so you can get consistent results and struggle less with this footage.
Want to start or grow your career as a professional colorist? The next round of my course, Colorist Career Accelerator, is happening at the end of the month. Last year we helped over 300 colorists grade faster, be more confident, set up their businesses, negotiate strategically, and make more money.
Colorist Career Accelerator has sold out every time, but you can get first dibs for your seat here:
bit.ly/cca-first-dibs-spring2023
--------
Grade faster with my Voyager LUT Pack:
procolor.ist/voyager-lut-pack
Get my free Kodak 2383 film print LUT for DWG and ACES here:
procolor.ist/freelut
Get all of my freebies with my free Color Grading & Look Design Starter Pack!
procolor.ist/starter-kit
Check out my ebook, The Colorist's 10 Commandments:
procolor.ist/ebook 
Развлечения
This is such useful information! Thanks Cullen, can't wait to watch the other camera episodes!
I came here for the concept. I find your "working process" invaluable. thank you!
Cullen!! That Lum vs Sat trick is EPIC. I primarily shoot Sony after switching off of Black Magic and have always scratched my head with how to fix those clipped highlights even after exposing everything correctly in Camera. Just recently shot a music video outside during golden hour and I tried keying and feathering out a foggy and overcast sky, but I think this Lum vs Sat trick is the KEY. Really looking forward to enrolling in your course this spring.
Love your videos!
Finally!!! I work a lot with s-log. Thanks for the value you give.
I could listen to these videos all day long and still not feel bored :D Definitly will try the Lum VS Sat technique for the highlights !
I’m really glad I watched this video. I was always grading Nikon footage at the beginning of the week and wondered why I always hated Mondays.
THANK YOUU ❤🙏🏼
Great takeways re the shadow toe to reduce noise and desaturating the highlights. I read somewhere that the Alexa sensor desats them to give a smooth rolloff, so this helps mimic that
This is great! I can't wait for you to go into to detail about working with Blackmagic cameras. I think there is a lot of confusion about when you should use things in the raw settings like the gamma controls.
YESSSSSSS!!!!!!
I love this all i use is sony rn. Especially the a7s3
Please make a video about HLG
The noise floor issue was a big deal with the original A7S2 and FS5. Possibly even the FS7.
With their new color science and sensors, I no longer have to ETTR. I expose with my light meter and the images are great. Super thankful too because exposing to the right was a pain in the ass.
Just found your channel, wish I found it sooner so I didn't have to waste money for the courses I've done 🙄 (color grading is very very new where i live so this is to be expected) but anyway, just wanna say thank you!
Just remember, noise doesn't have to be considered bad. What is film grain, that people love so much and constantly try to add to digital, than an analog version of noise? It can be embraced. As Cullen says bad noise reduction is way worse than a bit of "digital grain".
I would like your thoughts on grading RAw style footage. ie adjust white balance in the raw settings. I use a pocket 4k and like the option in Braw to recover highlights.
Nice gold nuggets there my friend. I shoot a lot of Slog on the fx6 and the a7s III. What I found to be great solution to squeeze every last bit out of those is I've made printed down versions from your lut packs to use as monitor luts. That way I can see, on the day, a good approximation of what my final outcome will be if I print down a stop (or even 2 stops if I going the the second base iso of 12.800)
This consistently yields cleaner results in my opinion.
The lum vs. sat is something I haven't played with and will test drive this weekend.
Would love to see something with Clog (1, 2, 3)! Though I suspect it's basically the same.
Let's talk about that hiring...
great stuff as always💪🏼
Another great video Cullen. Do you use other applications (outside Davinci Resolve) to fix problem footage? If so, can you make a video about it, thanks.
It might be worth checking out Neat Video's noise reduction.
FInally learning a lot about DWG from here. Stupidly tried to switch in the middle of collaboration project but I'm slogging through it. Speaking of slogging, I have a project where Im mixing older 8-bit slog2 with newer s-slog3. Really having a time matching skin tones mostly.
Really interesting - thank you! I'm often bothered and puzzled about skin detail in with Sony footage, it can be bright and flat with no texture and I battle to improve it. Perhaps if it was exposed to the right to much then the skin is encoded into the high roll off of the S-Log curve, whereas had it been exposed darker then the skin may fall into a better part of the curve and be easier to pull some contrast and texture into it? Does that make sense?
Please make video on V-Log
hi cullen great video ....just wanted to know what was the colorspace was set in ...thanks
If you mean the working color space, Cullen tends to use DaVinci Wide Gamut Intermediate.
I JUST bought the Sony FX3 and have been toying with S-Log for the first time! Previously, I had been using HLG3 on my 8 bit color depth ZV-E10 so ETTR wasn't exactly a foreign concept to me. But man, S-Log for some reason has been tougher to get a handle on. That said, I've been scouring videos on RUclips all saying similar things about how to expose, when to expose, how to set Zebras etc. But what I really needed was to know all the in's and out's and likely things you're going to notice in POST when shooting S-Log. Enter my hero, with the perfect video at the perfect time. I can close all the other videos out!
You’re going to really enjoy color grading footage shot with your FX3. Got the Sony A7Siii back in 2021 and got the ZV-E10 as a B cam late last year. When it comes to color grading, the difference 8bit and 10bit footage is night and day. There’s so much you can do with ease on a 10bit footage that 8bit just wouldn’t let you. I’m never buying an 8 bit camera ever again.
@@ShotByChuka Are you able to match the A7Siii and ZV-E10 footage? Something I'm concerned about.
@@VowStoryFilms indoors under good lighting, Yes. They match well when shooting in SLOG3 on both.
I haven’t really tried outdoors
Hey Cullen, sorry for reposting my question. In manual Colormanagement: I am shooting mostly 1 stop over with SWideGammutCine3.Slog3 (to be out of the noise floor) and grade within AWG/ArriLog3. What ist the best option to bring back down that 1 Stop? Should I do it before the CST-IN to AWG/ArriLog3 to have a better math into the Intermediate Space? Or should I forget about it an reduce exposure after the CST-IN and just do it in AWG/ArriLog3? Thank you so much...
Can you please do an episode on Fuji's Flog2 please... thank you master
@@CullenKelly Cullen I am in indonesia workin on some projects, id love to share some raw clips for you if youd like? for the Flog2 video
For shadow noise, what about using the lum vs sat curve to pull saturation out of the shadows? Or is it not quite as effective as a toe in the blacks
If that offer still stands man I’d happily come work for you haha
I'm seeing it over RUclips, when do I start?
Can you make a tutorial explaining what the color management settings should be on a timeline destined for youtube / online only distribution. Also if you're editing on mac display what should be the output color space so that the grade you worked so hard on exports exactly the same. Theres too many options, its overwhelming. Someone coming from FCPX
pls make tutorial for lumix vlog
How does one join the Friday live session? I can't find a link on the main page
Hello Cullen, I had a question about the gray card in slog3 footage. I used the CST in then CST out into rec 709 gamma 2.2 because I use a Mac. I look into my IRE levels and see it is hovering around 30 or lower IRE scale. I used both spot and incident meter to measure the middle gray. I wonder what caused this? Shouldn't rec 709 be around 45 IRE~50IRE level? My canon footage is spot on around that level
Interesting comment at Time Stamp 7:06
I recently bought your LUTs and had a play with them on my most recent RUclips project which included a few sunsets with some Starlings filling the sky. I think I must have been using the LUTs wrong because when I used the Pallet and Tone LUTs explained in your Tutorial, then I got a disgusting burned out sun. However when I used a single LUT from your Elements pack I got a very pleasing result with the sun rolling off into the sky.
I'm guessing that I was suffering from User Stupidity, with my first attempt, but I can't help feel that the technique of the "Luma vs Saturation" curves may have fixed my problem of a burned out sun.
BTW I have a Panasonic camera but its still a LOG profile.
Hi Cullen thanks for the video. I have 1 question, how do u handle magenta shift in SLOG3 footages?
You can counter it like any other color shift, by using Offset or Linear Gain (set node gamma to linear). To make your life easier, you could do this when setting up the node tree and copy the fix over to all clips or put it in Group Pre-Clip.
@@KaurH Ty sir.
Cool stuff, as always. Thank you! Tell you what popped out for me this time around though, I just realized you never experience lag in your timeline playback, especially after applying noise reduction. I don't remember you mentioning hardware in your videos (or maybe I missed watching the one where you mention hardware). Are you on a threadripper or what? 🧐
It's a Mac and if I remember correctly not a very recent one. I assume Cullen sticks to 1080p timelines. I'd guess a Mac Pro?
If I remember correctly, Cullen did a studio tour with Darren Mostyn over on his youtube channel a few months ago and he showed all his setup
Awesome video again Cullen! How would you go about grading footage from a camera that doesn't have a built-in color space transform? For me, I have been filming with the DJI mini 3 pro in d-cinelike. I have tried both using the normal DJI d-log transform and also have tried just adding contrast and saturation without a transform, but neither seems ideal.
havent watched this vid yet but try other transforms, like sony canon etc till you find one that looks like a good starting point
Typically when a camera doesn't have a specific log space, they're technically just different flavors of Rec.709. So you could do transforms from Rec.709 into DWG and back and work from that. This is how some flavors of HLG work as an example, they just have more aggressive highlight rolloffs. This isn't the case in every scenario, but it's definitely a starting point. In your case, D-Cinelike is technically meant to work as is from what I know about it, so going from Rec.709 Gamma 2.4 into DWG DaVinci Intermediate is your best bet.
@@CameraTim Sounds awesome! Thank you for taking the time to respond Tim! :D
@@ShanePHanlon Of course! No problem
@@CameraTim one day i'll edit d-cinelike again and keep this in mind
canu grade v log footage plz
it ll help me a lot
I want to grade slog3-sgamut3 footage from my Sony A7iv to HDR.
How can I do that?
Can someone PLEASE HELP? 🥺
The clipped looking areas often aren't really clipped with S-Log 2 because the maximum value of video output is 106%. It's not the case with s-log 3, however.
Is there a way to mitigate this in shooting/color management or is it really just a lum vs sat thing. Because i've seen side by side comparisions with other cameras like blackmagics or panasonics where the "highlight roll off" supposedly is more pleasing, which looked like it, but it never made sense to me because the dynamic range of these sony cameras should be more than enough to have beautifully retained highlights.
@@botbot3698 i mean, it really depends on a lot of things and the 106% max video output is really not a problem. Just bring the highlights down in post till nothing's clipping. But that's assuming the sensor itself wasn't clipped, or the clipped bits didn't exceed the ceiling (with non-raw codecs) - in which case they won't be recoverable.
The luma v sat trick will work when only individual color channels are clipped. If you want a smooth highlight roll-off for footage with clipped parts, you'll have to play with the luma (rgb/y) curves to smooth things out.
Yes, sony cameras do tend to have a harsh(er) highlight rolloff compared to blackmagic or even canon. But that's because how each manufacturer engineer their gamma curves.
Love the lum vs sat trick, really helps to tuck in those garish areas. Would've loved to hear more about skin tones though, they can be all over the place with some Sony sensors and S-Log3 - a quick note about S-Gamut3 and S-Gamut3.Cine would have been great also.
Here's a very important note to add about S-Log:
Just watched your video about RED and heard you talking about footage that's been re-encoded to ProRes. So, here's a very important disclaimer regarding ProRes: Sony encodes a full-range image when you record in any flavor of XAVC internally. The files have correct metadata and are recognised by Resolve as full-range images. But when you re-encode to ProRes or record with an external recorder, say, with an Atomos Shogun/Ninja/etc., those ProRes files will still encode a full-range image - but tag as video-range. And Resolve will automatically tag them as video-range, clipping the top and bottom of the container. To mitigate this, you need to manually tag those files as full-range - right-click the file, and select "full" in the data level section.
You can check this when you record both internally (XAVC) and externally (ProRes), then import both clips to Resolve. The ProRes clip will look more contrasty and will only match XAVC if you manually tag it as full-range.
guess you needa hire me cause i can see the difference. lol
Your videos are good, unfortunately your audio is way to low.
Cullen honestly, the built in noise reduction is no good and I‘m sure you’re aware of that. Am I right to assume you don’t want to use plugins in your tutorials because of your audience? Neat video is much less blotchy/plastic when used tastefully.
@@CullenKelly you might be crazy. Haha. It really depends on the quality of the profile, it takes a lot of love and tweaking. But yes, a light touch is advisible. Thanks for replying!
It’s really annoying that you don’t at least how your color management settings for your videos. Even then you could still point people to your more in depth videos covering those settings. But for a video about SLog and not even show how you set up your color management is incomplete.
😉good sir I do believe you have missed all his other videos. Never have I seen a colorist explain color management in such detail as Mr. Cullen. He has a series of videos dedicated to his exact settings in color management along with downloadable resources as well.
Go to his older videos he talks about it alot
@@sqsyea yes I know. it’s annoying he doesn’t at least show the settings when he mentions it. Instead he is trying to get more views on his older stuff. He’s annoying and I unsubscribed. Not to mention he is the most long winded, loves to hear himself talk person on RUclips. No thanks.
Sony's veggies remind me of chromium oxide