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S-LOG2 SUCKS!! This is how to FIX IT. (Sony SLOG2 Settings) - YouTube
Channel: Dunna Did It
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what is up people dunna here and today
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i've made a bit of a breakthrough and
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i'm very excited to share with you guys
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the secret that i found that's going to
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make dealing with s log so much easier
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and it's super simple but first let me
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explain about two years ago I picked up
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the Sony a 65 hundred upgrading from the
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sony a6000 and i made a video about the
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ten features that i was most excited
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about one of those things was the fact
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that i was going to get access to these
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sony picture profiles most notably s log
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two which increases your dynamic range a
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whole bunch wind shooting video now if
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you're not sure what that means
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basically if you're shooting a scene
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that has really bright brights like this
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light back here and really dark darks
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like my shirt then you're gonna be able
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to capture both of those and when we're
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capturing it it looks more like a
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reduction in contrast so everything kind
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of looks flat and gray and then when
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you're editing it you can pull all of
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that back but the important part is that
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it's capturing all of that information
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so you get to decide if you're gonna
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push those blacks back down or if you're
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gonna push those whites back up to being
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white but here's the issue when I got
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that a 6500 and I started to shoot in s
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hug I just hated it so much with the
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file sizes and file types that you're
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dealing with in the Sony cameras I just
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found that it was really difficult to
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work with the s log2 footage the idea of
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shooting an s log for me was actually so
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that I would have more control
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afterwards but when I actually went to
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push the footage around where I wanted
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it to go it just started to fall apart
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so basically after a couple of weeks of
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trying it and trying a bunch of
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different things I basically gave up on
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s log but I was always interested in how
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I could try and make s log work let me
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show you a quick example of the problems
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that I've been having with s log two
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footage okay so we're looking at the
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plane s log version it's super flat it's
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super d saturated let's just crank up
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the saturation so we can see what's
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going on with the colors I'm gonna crank
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it up and then we're gonna zoom in here
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we're gonna take a look right here this
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is where I notice it the most for
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whatever reason you see all this crazy
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blotchy there's like pink and then green
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this is exactly what I'm talking about
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and even if I back off the saturation a
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little bit you can still see it in there
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so it's happening right off the bat I
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know my skin isn't perfect but it's
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definitely not like that okay so if we
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do that and then we go over to the clip
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that has my fix on it right away it
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looks like a more consistent color and
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then if we crank up the saturation you
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can see that it's a nice even color
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there's none of that kind of blotchiness
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that we saw in the other one now again I
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can crank it up so that it's super
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oversaturated and you can tell that it's
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just nice and even I'm looking a little
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crazy but you're a little too much spray
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tan there denna
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but even if I go back and you're looking
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at it not zoomed in you can see this
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like splotchy kind of difference in
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color it's almost like this isn't
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getting saturated like it's so D
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saturated to start with that there is no
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color to find in there now maybe I'm
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missing something because I see other
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people using s log too and they seem to
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enjoy it and seem to have no problem
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with it but for whatever reason I
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couldn't get it to work for me so leave
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a comment down below if you think that
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I'm just totally missing something but
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the way that my brain works is that I
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wanted to fix it so recently I had a
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little bit of time and I did some
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experiments and I managed to get this to
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look like this by changing a simple
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setting inside the camera alright so
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we're back in this corner we've got
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basically that same shot setup again as
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you can see and if you're looking at the
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screen you can see that I'm in s log2 so
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it's super flat super desaturated this
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is just the standard s log2 so I'm
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talking about no modifications
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whatsoever we're just on picture profile
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seven the one that comes in the camera
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now there are a couple of ways that I've
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heard people talk about exposing s log
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to theirs exposing two stops over those
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kinds of things the two main ways that
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I've basically heard is that you want to
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set your Zebras up and you want to max
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out at 107 so anything that's going over
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107 is going to be permanently clipped
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so trying to keep everything under that
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or you're going to set your subject
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which if it's a human the skin should be
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around 70 Ayari now personally I like
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the 70 I re but we'll test both ways
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here so
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I'm gonna go into my zebras and I'm
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gonna choose 70 and now you should be
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able to see that on the side of my face
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there's a little bit of zebras going on
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now I've exposed it under a little bit
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like I could make it so that the whole
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side of my face has the Zebras going on
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but then I'm blowing out the window
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pretty hard so I'm gonna back that off
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just a little bit we're gonna go down to
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the base is o on the 6,600 in s log
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which is 500 now we've got this shot
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let's now do it the other way where
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we're trying not to clip at all so I'm
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gonna change my zebra level to lower
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limit of 107 so we can see what exactly
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is clipping and then I'm gonna have to
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mess with my aperture to get it so that
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we're not clipping at all that got rid
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of it and let's try that for a couple of
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seconds okay so we've got our standard s
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log footage the stuff that I've been
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having trouble with forever and now I'm
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gonna make that one little change that's
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gonna make it so much easier but first
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let me explain kind of why I came to
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this result to my understanding there
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are two main things happening when you
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go into s log the contrast is being
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reduced so that it can capture more
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dynamic range and the saturation is
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being reduced significantly as well now
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what I really want to get out of a slog
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to is an increased dynamic range so
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that's really the catch I do want it to
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reduce the contrast but I don't
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necessarily need it to reduce the
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saturation and the problem that I'm
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having in the end is the fact that on
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Sony with 8-bit and for 200 I can't seem
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to push the colors around enough to get
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that back I'm having that weird little
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blotchy problem so within my picture
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profile what I'm gonna do is I'm going
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to go in I'm gonna leave everything
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standard except I'm gonna go down to
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saturation and I'm gonna bump it all the
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way to plus 32 now when you're in s log
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and s gamut it's already so d saturated
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that when I push it all the way up to
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plus 32 it's still
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as saturated as if you were just not
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using a picture profile altogether but
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in my experience so far because I don't
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have to push the saturation up so much
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when I go to color grade the footage I
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don't get nearly as much of that
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blotchiness and problems that I was
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having in the colors let's try it on my
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function button here and then I'm going
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to go into my picture profile I'm gonna
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go over this is hard to do backwards I'm
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gonna go down to my saturation and I'm
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gonna crank it up all the way to 32 you
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can still see that we're very d
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saturated we've lost a little bit of
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light so I had to crank up the ISO just
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a little bit but I've got that same
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zebra on the left-hand side where the
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light is coming in through the window so
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we should be able to get about the same
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kind of results so we'll try this one
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first and then we'll try it the other
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way where we go to 107 and we make sure
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we're not clipping anywhere okay
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no clipping I look very dark all right
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let's get this footage into the computer
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and we'll see if we can make this whole
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thing work again
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alright so we got fresh footage in here
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these are the new ones that we just took
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so this one here is the regular s log
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the picture profile seven this one is
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the modified one with the increased
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saturation let's see if we can replicate
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what we had before so let's crank up the
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saturation you can see we've got that
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same problem a little bit of a different
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area this time but same issue we've got
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this like splotchy red color noise or
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something and even up into my beard you
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can see it all my skin does not look
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like that so with the fix applied so
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this is the one with the increased
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saturation in the camera we cranked it
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up there might still be a little bit of
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it happening but you can tell that it's
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a lot less and obviously this is again
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like super oversaturated
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now in regards to the other ones where
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we exposed to attempt not to blow out
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the highlights in the window I'm finding
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that it's just way too dark on this side
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it's it's pretty much unsalvageable I
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would much rather blow out the
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highlights in the window and make sure
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that my face is a little bit more
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exposed or you just add a light on to
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this side or some kind of a reflector or
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something like that so that you don't
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have this problem unless you're going
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for something super movie but ignoring
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the exposure for now if we do the same
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thing with the saturation cranked it up
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there - then we zoom in even though it's
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a little darker you can see on my face
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we got all sorts of different kind of
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splotchiness now if we go over to the
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other test shot significantly
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underexposed in my opinion kind of
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unusable because you'd have to bring up
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all this noise and we saturate a whole
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bunch that gross blotchy splotchiness is
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way way less in this one than it was in
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the other one like if we've matched the
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kind of saturation level you can see in
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my face it's crazy and this one it's a
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lot more kind of even so now if you want
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to throw a lot or something on that
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you're gonna have to make sure that
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before you do you just dial back the
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saturation this is just the sony
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provided s la glut and it looks pretty
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good before after
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let's try and do that same thing to this
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one and again same LUT we've got that
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gross kind of blotchiness so if you have
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some lots or something for s log
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they'll probably actually work better
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with this method but you have to make
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sure that you dial back the saturation
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so after all that time I can finally
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confidently shoot in s log - and get all
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that dynamic range back it's just nice
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to have as an option I don't need it all
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the time but it's just nice that it's
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there and it makes a huge difference
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that I feel like I can actually color
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grade it now hopefully this helps some
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of you guys - to make your s log footage
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better if you have any other tips or
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tricks that you think I should know
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about make sure to leave them down in
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the comment section below and on your
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way down there hit the like and
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subscribe button and make sure to hit
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the bell notifications so you don't miss
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anything
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thank you so much for watching and I'll
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see you next time
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