According to our tests the results are the same as if you would apply the fix in post. Will I lose color information or quality when I use the LUT on a recorder (burned in)? If you’re using SDI as an output interface you will not require the fix. If you’re using an external HDMI recording you will also need this on a Sony FS7 and Sony FS5. If you apply LUTs meant for Slog 2 or 3, you will not get the correct results without fixing your files first. The files were only saved with the wrong metadata and the information can be pulled back with the help of our LUT or the workarounds described here.įor people who want to retain the original Slog 2 or Slog 3 Gamma in order to grade accurately, match cameras or use pre defined LUTs. You can use this on files you have recorded with an external recorder in the past. Will this work even on files that have already been recorded? The Slog Problem is only present in external recordings with Slog 2 and 3 Gammas via HDMI.Įxternal recordings via SDI are not affected. Sony a7S – Slog 2 – External – Fixed with Slog FIX LUT burned in, on the recorder FAQĭo I need this if I don’t use Slog 2 or Slog 3 Gamma? If you’re working semi professionally it should be “good enough”, as the highlights are most important. For those who want to use a second LUT as a preview on the Shogun, I would recommend this method instead of the C5D LUT, or alternatively the C5D LUT can be used in post for a 100% accurate result. While I do not know the science of it, the tests showed that it recovers some of the highlights, but not the true Slog Gamma. As cinema5D reader Corey Robson pointed out, there is an alternative method on the Atomos Shogun, that gets you half way to the goal: The Shogun offers a “5D MkIII” Color Corrector option in the “Source” window. We’ll also be happy for a higher contribution if you feel this fix helped you in your work. We decided not to give away the C5D Slog Fix LUT for free, but if you buy us a cup of coffee it’s yours to use in your projects. Please test this yourself before implementing into your own workflow. Note: We cannot be held responsible for wrong use of the LUT. In our tests, an external recording with the C5D Slog Fix LUT on an Atomos Shogun was virtually identical to a file otherwise transcoded in DaVinci Resolve by changing the Video Levels manually (See more sample images below) This Slog Issue is especially problematic in Slog 2 Gamma, as it kills some of the highlights and thus reduces the dynamic range of the image where it matters (highlight rolloff in critical shots): By loading this LUT onto an external recorder like the Atomos Shogun, you can fix the Slog problem during recording, work with a correct file from the start, and save the additional rendering time otherwise needed in post production. On top of that, this LUT gives you the unique possibility to burn the correct Gamma right into your external recordings. Essentially, it recovers any Slog 2 or Slog 3 files recorded externally, and gives you back a true Slog image with the cameras full dynamic range. Here is better way to fix the Slog Problem at any stage of your workflow, and it’s the fastest we have found in the form of our very first official C5D LUT. There is a recovery of about 1 stop of dynamic range in the highlights. The Slog Fix LUT also fixes external recordings in F Log from the Fujifilm X-T2. You do not need this on the Convergent Design Odyssey Recorder as their latest firmware provides a fix in the form of a “Legalize HDMI” function you will find in the INPUTS menu. There is a fix that involves either DaVinci Resolve or level filters in Premiere that I described here, but these can impact your rendering time considerably. This phenomenon has been the main reason why some people have avoided using external recorders with these cameras. Basically, the contrast information is saved incorrectly on external recordings via HDMI, thus defeating the whole purpose of a standardized Slog Gamma. The Slog Problem Explainedīack in March, I wrote a scientific article on the crushed blacks phenomenon concerning the Sony a7S, Sony a7S II, Sony a7R II and Sony a6300 cameras. This LUT can be applied either during external recordings or even in post and give you back the full dynamic range of a true Slog image. But we’ve developed an extremely easy fix. The famous Slog problem cuts off blacks and highlights and gives you a wrong Slog 2 or Slog 3 image. External recordings on Sony a7 series cameras are awesome for several reasons, but unfortunately the image is crushed and there can be a loss in dynamic range when recording externally via HDMI.
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