#s-log2

[filmostarmedia]

Как ПРАВИЛЬНО СНИМАТЬ видео в S-Log 2 | Техника Cody Blue | Буржуториалы #10

Перевел неплохой туториал по съемке в S-Log2 от весьма известного в буржунете фильммейкера Cody Blue. Объясняет все просто и доступно, а также дал свои настройки S-Log2 для камер Sony.

[bertonevisuals-blog]

Sony FS700 4K The Sony NEX FS 700 is becoming a popular camera in the rental business and a choice for many DPs that are looking for high res HFR (High Frame Rate) options. When you receive the camera from the manufacturer it is relatively cheap, but it is a camcorder at that time and you need a wide series of mechanical and electronics accessories to transform this Consumer Camcorder into a B - C camera for the production of feature films. First, you need an EVF (Electronic View Finder) because the LCD on the camera body it is partially articulated and mainly it cannot been seen when you hold the camera on your shoulder in a hand held style. At Bertone Visuals Rental Department we came up with two different EVF options: one is 3G sdi, and the other one is HDMI. Second, the basic camera by itself could record only 8bit video in Sony Codec Video Format on two different kind of media. In order to increase the bit depth , the quality, and the kind of compressed Video Codec to be subsequentially ingested by an editing system (Final Cut or Avid) an external Digital Recorder is required. Before we were offering only the Sound Devices PIX240 option that had CF cards and SSDs slots for 1080p HD recording in Apple ProRes and Avid DNxHD, but now we have upgraded our Sony NEX FS-700 with original 4K Sony accessories. After a firmware/software upgrade to the camera body processed by Sony Technicians, the 4K sensor of the camera can now outputs S-Log2 Sony Gamma and record .mxf Raw via AXS-R5 2K, 4K Raw Recorder and the HXR-IFR5 interface unit (it is a device that receives the 3G signal via bnc and passes it to the Sony F5/F55 Raw Recorder). Third, at this point we need to consider a proper Power Source. Indeed, we have to provide operational Power to six devices: - a camera body - an EVF - a TV Logic / SmallHD first AC monitor - a Cinetape - a Deck Interface Unit (HXR-IFR5) - a 2K and 4K Raw Recorder For all of these devices we distribute the power from an Anton Bauer Gold Mount with P-TAP connectors carrying an Anton Bauer Hytron Battery. In order to keep all of these elements neatly together in a studio and hand held configuration we used pieces such raiser, cheese plates, handles, PL Adaptor, clamps, 15mm light weight rods, handles, and adaptors from: Movicam, Berkey Systems, Shape WLB, Anton Bauer, 16X9 Inc and O'Connor. Unfortunately, not every client is aware of the possibility to shoot 4K raw in a seamless Sony workflow with a relatively inexpensive camera that can be installed on a Mōvi M10 with a little backpack or on a Steadicam. When I shoot as a DP I tend to go out with: 1 Sony F65 on a CinePed rotative slider, 1 Sony F65 on a SolidGrip System Twin Dolly and 1 Sony FS-700 with 4K accessories either on Steadicam or Free Fly Systems Mōvi M10 gimbal. When I check on set my clips on Bertone Visuals Dardo DIT cart (that fits into a Ford Expedition) I like to have in DaVinci Resolve a timeline with the same kind of file (.mxf), gamut, but depth and resolution. Finally, most of the times I can still have at the end of the day 1080P files with an embedded custom Rec709 LUT, because we know how to go quickly from S-Log 2 to Rec 709 or Aces. We did the same thing for the Canadian launch of the Samsung Galaxy S4 Tablet, when I was DP for the olographic project and we needed to shoot 4K p and deliver on the same day 2K graded and interlaced.