S-Log2 on the Sony ZV-E10 is a great choice! Proper exposure and grading really bring out the magic in the footage. That’s why I rely on it for all my cinematic videos.
Excellent video! I've been shooting in S-log2 for my ZV-1 (Just cause lol) and this was very insightful. I think I'll need to play around with the other Picture Profiles a bit more to figure out what's best for my purpose. P.S. Love the message at the end about how no one will zoom in our videos to look for pixel blotching on a YT video. I feel the same about pixel peeping in lens reviews 😅
Thanks! Yeah, I actually 'discovered' HLG profile while filming this. Before, I had always dismissed it and treated it as a curiosity, so testing it yourself is always the best way to see what you like!
I think there are two tips that will work every time: 1. You need a variable ND filter - doesn't matter what you're shooting, you won't be able to shoot outside during daytime if you don't have one. 2. Set the ISO to auto, but within a certain range, ie. 100 - 3200 Once you have those ticked off, set the ND filter to the brightest condition (then the ISO should be at the lowest of 100). Then, whenever it gets darker, you will compensate with the auto ISO. The above works with the assumption you aren't touching the shutter speed and it is kept at the 1 / [your framerate] * 2, ie. if you're shooting at 25fps, your shutter speed should be 1/50 to get the accurate motion blur. The aperture would also need to be fixed, at its lowest. It is fairly straightforward if you know the shooting principles, if not, it's a vast topic. That's actually a good idea for my next video, cause it's easier to explain it with the video examples. Thanks!
Hey, cine2 is already in the rec709 colour space, so there's no need to transform it. You can grade directly on the clips, although I do use nodes that let me grade in davinci wide gamut; so I use CST 709 -> Davinci Wide Gamut -> grade here -> DWG -> back to 709. I didn't test whether it makes any difference though, it is my standard workflow for all footage.
If you have those artifacts even out of Cine, why do you compare it like that? Did you match the exposure using external tools or you just exposed by eye? There are no really difficult scenes, all shots are pretty much bright. Also you said "who has the budget to light things properly if you shoot it on an 8 bit camera?" I totally disagree, you should light things properly even if you shoot it on a phone. So, as soon as you expose your shots equally bright, for example F8 Shutter speed 1/50 and ISO 100 in Cine1 and don't clip your highlights, so you should leave the exposure the same, change your picture profiles and record, and then move your exposure down in post - this is how you get a clean image using Log. And if you dive a little bit deeper, you can use an external recorder and you will avoid these artifacts totally as soon as you record it in a beefier codec (and also expose it well) still staying with 8 bit output from a camera. In conclusion - it is not 8 bit issue, it is how you use it.
Hey, thanks for the comment. Let me clarify those points because it sounds like you misunderstood the key takeaways of the video :) 1. The exposure is the same or varies by 0.3EV in each shot. No, it's not matched by eye. Did you watch the whole video? The whole point was that cine2 doesn't have those artifacts I talk about (the ones that make Slog fall apart). Also, these are difficult scenes, there are a lot of shadows, and for non-pro cameras like this one, with limited dynamic range, it's hard to expose without losing information either in the shadows or highlights. Especially when you have a subject that is not lit by external lights. 2. You misunderstand, when saying 'light' I don't mean 'expose'. These are two different things. I meant bringing external lights. To light up a daylight scene you need very powerful lights or a bunch of reflectors (and a crew to help you with it), meaning you need to have a higher budget to shoot and can't just take a camera and go by yourself. You instead, are talking about exposing, which is something obvious - yes, you should expose shots properly. That isn't up for discussion. 3. S-log blotching is a well-documented issue with 8-bit cameras, so it's not 'how you use it.' It is just how the information is compressed, and using a wide gamma space (such as S-log) on an 8-bit camera will almost always result in those blotches appearing, as you can see in every example. Hope this helps!
@filipparulski I shoot Log about 5 years in a row using different cameras and I get what you are trying to tell me, but I see you don't have enough experience to understand what I wanted to tell. 1) Try to shoot your subject in front of a window and you will see a really difficult scene. About my question of exposure I think you didn't get it. So, if you expose Cine as I said, for example f8 1/50 ISO 100 and ND4 and see your image good and not clipped, then you just switch to SLog2 AND DON'T TOUCH ANY OF ND OR APERTURE OR SHUTTER settings, then you will get "overexposed" but actually correctly exposed Log image without clipping too, but also with minimum "blotching". You wouldn't get it untill you try it for yourself. 2) Reflected sun is a good and cheap lighting on a daylight scene. 3) It is not "slog" or "8bit" blotching, it is MPEG artifacts and it is well documented how to avoid it using SLog. There are two main ways - overexposure and external recording.
And also I wanted to add - try to shoot some neon lights and skintone in colorful lights and compare these profiles, you will understand why there is a wide color gamut
Hey, it's ok, we don't have to agree. What you're saying is simply not true in my experience. Professionally, I have been filming TV series for over a decade, so this is just a bit of fun I do on the side. If you have an example of Slog footage, I'd be more than happy to review it. I'm willing to change my mind if someone shows me evidence of Slog not blotching on ZV-E10.
S-Log2 on the Sony ZV-E10 is a great choice! Proper exposure and grading really bring out the magic in the footage. That’s why I rely on it for all my cinematic videos.
Excellent video! I've been shooting in S-log2 for my ZV-1 (Just cause lol) and this was very insightful. I think I'll need to play around with the other Picture Profiles a bit more to figure out what's best for my purpose. P.S. Love the message at the end about how no one will zoom in our videos to look for pixel blotching on a YT video. I feel the same about pixel peeping in lens reviews 😅
Thanks! Yeah, I actually 'discovered' HLG profile while filming this. Before, I had always dismissed it and treated it as a curiosity, so testing it yourself is always the best way to see what you like!
Hello, I am from India. I love your content
In your opinion what manual exposure settings would be best for ZV-E10 when vlogging outside, with no control over the lighting?
I think there are two tips that will work every time:
1. You need a variable ND filter - doesn't matter what you're shooting, you won't be able to shoot outside during daytime if you don't have one.
2. Set the ISO to auto, but within a certain range, ie. 100 - 3200
Once you have those ticked off, set the ND filter to the brightest condition (then the ISO should be at the lowest of 100). Then, whenever it gets darker, you will compensate with the auto ISO.
The above works with the assumption you aren't touching the shutter speed and it is kept at the 1 / [your framerate] * 2, ie. if you're shooting at 25fps, your shutter speed should be 1/50 to get the accurate motion blur. The aperture would also need to be fixed, at its lowest.
It is fairly straightforward if you know the shooting principles, if not, it's a vast topic. That's actually a good idea for my next video, cause it's easier to explain it with the video examples. Thanks!
@@filipparulski Hey thank you so much for taking the time explain that, I will give all that a try. I am now a subscriber! Thanks
Hey man, how do you transform Cine 2 footage to rec 709? is it the same process as S-Log?
Hey, cine2 is already in the rec709 colour space, so there's no need to transform it. You can grade directly on the clips, although I do use nodes that let me grade in davinci wide gamut; so I use CST 709 -> Davinci Wide Gamut -> grade here -> DWG -> back to 709. I didn't test whether it makes any difference though, it is my standard workflow for all footage.
hi there do you haveany luts olr so for the slog or hlg2 you reccommend
Hi, I only use color space transform (in Davinci) to rec709 and then grade it slightly.
I am colour blind, it s a paradox but i get it anyway
If you have those artifacts even out of Cine, why do you compare it like that? Did you match the exposure using external tools or you just exposed by eye? There are no really difficult scenes, all shots are pretty much bright.
Also you said "who has the budget to light things properly if you shoot it on an 8 bit camera?" I totally disagree, you should light things properly even if you shoot it on a phone.
So, as soon as you expose your shots equally bright, for example F8 Shutter speed 1/50 and ISO 100 in Cine1 and don't clip your highlights, so you should leave the exposure the same, change your picture profiles and record, and then move your exposure down in post - this is how you get a clean image using Log. And if you dive a little bit deeper, you can use an external recorder and you will avoid these artifacts totally as soon as you record it in a beefier codec (and also expose it well) still staying with 8 bit output from a camera.
In conclusion - it is not 8 bit issue, it is how you use it.
Hey, thanks for the comment. Let me clarify those points because it sounds like you misunderstood the key takeaways of the video :)
1. The exposure is the same or varies by 0.3EV in each shot. No, it's not matched by eye. Did you watch the whole video? The whole point was that cine2 doesn't have those artifacts I talk about (the ones that make Slog fall apart). Also, these are difficult scenes, there are a lot of shadows, and for non-pro cameras like this one, with limited dynamic range, it's hard to expose without losing information either in the shadows or highlights. Especially when you have a subject that is not lit by external lights.
2. You misunderstand, when saying 'light' I don't mean 'expose'. These are two different things. I meant bringing external lights. To light up a daylight scene you need very powerful lights or a bunch of reflectors (and a crew to help you with it), meaning you need to have a higher budget to shoot and can't just take a camera and go by yourself. You instead, are talking about exposing, which is something obvious - yes, you should expose shots properly. That isn't up for discussion.
3. S-log blotching is a well-documented issue with 8-bit cameras, so it's not 'how you use it.' It is just how the information is compressed, and using a wide gamma space (such as S-log) on an 8-bit camera will almost always result in those blotches appearing, as you can see in every example.
Hope this helps!
@filipparulski I shoot Log about 5 years in a row using different cameras and I get what you are trying to tell me, but I see you don't have enough experience to understand what I wanted to tell.
1) Try to shoot your subject in front of a window and you will see a really difficult scene. About my question of exposure I think you didn't get it. So, if you expose Cine as I said, for example f8 1/50 ISO 100 and ND4 and see your image good and not clipped, then you just switch to SLog2 AND DON'T TOUCH ANY OF ND OR APERTURE OR SHUTTER settings, then you will get "overexposed" but actually correctly exposed Log image without clipping too, but also with minimum "blotching". You wouldn't get it untill you try it for yourself.
2) Reflected sun is a good and cheap lighting on a daylight scene.
3) It is not "slog" or "8bit" blotching, it is MPEG artifacts and it is well documented how to avoid it using SLog. There are two main ways - overexposure and external recording.
And also I wanted to add - try to shoot some neon lights and skintone in colorful lights and compare these profiles, you will understand why there is a wide color gamut
Hey, it's ok, we don't have to agree. What you're saying is simply not true in my experience. Professionally, I have been filming TV series for over a decade, so this is just a bit of fun I do on the side. If you have an example of Slog footage, I'd be more than happy to review it. I'm willing to change my mind if someone shows me evidence of Slog not blotching on ZV-E10.
@@filipparulskiHow can I send it?