Im getting a few people asking about settings and the like on the FS7 camera – so how have I got it set up?
Simply I love Slog3 because there is a predefined route from this flat look to a punchy ‘709 style’ look.
Conversely the hypergamma settings, well we know they are ‘flat’ – they have to be if they offer wide DR- that is a natural trade off – but what is the route from that HG flat image to a properly contrasted image in post? Well, we dont know. And that will lead to inconsistency and no base point for a colourist to work from.
Slog3 simply moves from flat to contrasty with one click in post.
Controlled Shoots 1.
If I were in a situation, maybe a lit interview,no HFR, I would use SlogEI mode, ideally rated at 800-1000, in this mode one can use a LUT and expose for a white card to be at about 90 with the LUT on.
As long as you see that zebra you dont need the WFM – the danger is if you dont see the zebra you dont know how under you are.
This setup will give you and your director a punchy image on the monitor(s)
Controlled Shoots 2.
In a controlled shoot environment where I could light to 1000 ISO, but might be using HFR I would turn off my LUT and expose using the WFM, now the director has a flat view but that is less confusing than a view that changes as HFR is engaged and disengaged. Of course the director could view a monitor with it’s own LUT support engaged.
EI
In the situations above your work will come into the colour suite (davinci) one stop too bright – maybe this is worth pointing out to your post team. Should you use CatBrowse EI ISO is supported and the brightness problem goes away.
Shooting In the wild.
For a more varied shoot, possibly at lower light levels I would use SlogCustom, Matrix Off, NR Medium. My WB setting at 5500k-17magenta.I would then use that fixed WB or in a tung or flouro environment click WB.
The NR seems to be of value at higher ISOs, beating EI mode, I find 4000 ISO is good and 8000ISO to be ‘acceptable’
Using the WFM
My first shots with Slog, No LUT and the WFM were about 1.5 stops under – it is essential to force yourself to get a good chunk of data over the 50% line, do not rely on an exposure which where the majority of the data is in the bottom portion of the WFM.
This will lead to clean footage but will feel very wrong, especially if you are shooting in a dark environment.
UPDATE
Some images..
Here I shoot a scene at three EI values and match the brigtness in post – hopefully one would agree that EI 800 is very clean with the highlights not that compromised
Noise at different EI values.. https://dl.dropboxusercontent.com/u/33167160/ei.jpg
A second scene
4k, bracket and equalise (ettr) test https://dl.dropboxusercontent.com/u/33167160/Mugshot-jpg12.jpg
A very dark place – here we see the value of noise reduction?
Noise Custom vs Cine Mode.. https://dl.dropboxusercontent.com/u/33167160/dark.jpg
Extreme lowlight and recovery https://dl.dropboxusercontent.com/u/33167160/FstopDark.jpg
