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Sony RAW grading workflows
Hello forum friends!
I am wondering how people are currently approaching F65 RAW 4K footage in R10. I am much more familiar with RED raw workflows but I have some material that looks to have camera metadata set to rec.709 and seems just very hot overexposed looking right now so my inclination is to go back to Slog2/Sgamut and start with a custom curve and primary balance after that node to just grade for a balanced beginning. Then after that worry about a look node or any secondary corrections before that if needed.
I was also thinking to try the LUT provided under Sony LUT option and do that in the very last node and work backwards to balance and grade to taste. I am a little less familiar with how to use LUT’s at the end of the node tree but have read a bit here and a node before and after to balance seems to be the general recommend, I guess I am just curious when and where in that node structure one is meant to do keys, windows, look layer, etc. is it just working backwards?
Any advice would be great, thank you.
Andrew -
4 Replies
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[andrew smith] “…my inclination is to go back to Slog2/Sgamut and start with a custom curve and primary balance after that node to just grade for a balanced beginning…”
That makes perfect sense to me. As long as you’re grading in Rec709, all the initial node needs to do is put you in a good starting point, and from there on you can do what you want. I’ve generally done the LUT (or a normalizing grade) at the initial layer or node and then thrown the rest of the correction afterwards, but as long as it ends up correctly, it should be fine. The key is making sure you have enough range to get there in the end. -
Thanks for the reply Marc!
rec.709 for project yes as that is what my broadcast monitor is set to but my master settings in camera Raw I am thinking to have as Sgamut/SLog2 and start from there.
I am noticing very different responses to different approaches.
It seems an s-curve>LGG>Sat order of nodes doesn’t pop or look as good as using either the LUT provided in R10 or even just using contrast/pivot with Offset. What do you guys recommend for best results?
Thank you
Andrew -
For dailies, I’ve used SGamut-SLog2 in the Camera raw settings and then the Sony LUT which I downloaded, as the output LUT. I’ve found that in some clips, the Color temp needs to be set to the ‘As shot’ setting to get the right colours.
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Neil Sadwelkar
neilsadwelkar.blogspot.com
twitter: fcpguru
FCP Editor, Edit systems consultant
Mumbai India -
Andrew, where you place the LUT in the node tree is determining at what point you are making the jump from SLog2/SGamut to 709. By putting the LUT on the last node this means all grading upstream from here is based on looking at SLog2/SGamut. For example, using the contrast/pivot anf offset parameters work very well in the Log space. They may not be the right tools if you are working downstream from your LUT. The LUT also is using a specific color matrix as well, so using curve based secondary work is very different after the LUT than before.
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