In Baselight Sony F55 Importing clips are not showing Poper S-Log

[Soumitra Sarkar]

I am using Baselight from last 5 years. Basically in our film industry we are use mostly Arri or Red cameras. But in recent time a clint to me With his film shooting Sony F55 rush to grade. But when I import those Sony F55 clips, are looking not Poper S-log. My workflow viewing colour space DCI P3 and my working colour space is P3. Basically for Arri or Red raw rush I used imput formats are No Conversion. when I used imput formats No Conversion for Sony F55 clip they are looking linear. Instead of No conversion I set Atomatic for Sony imput formats but looking not Poper log which Resolve or other grading software are doing... My DoP was upset for me because he want to grade From log file. I Used Baselight 5.1 and results is same.. But we get the Metadata which have colour temperatures and ISO... not giving option to change S-LOG 2 or S-LOG 3...Also highlight are clipping and much bright than my DOP was shoot... 

How I get Poper log image... Plz help

[Nikola Stefanovic]

For me your setup looks completely wrong. To my understanding working color space should be scene referred while yours is display referred. Another thing is grade result should be from stack and on top of that you don't have DRT. Maybe I'm wrong. If everything is setup correctly you should see properly interpreted image which is not looking LOG. If you really want to look at the LOG image you can just change the interpretation to let's say REC709 so DRT is not applied or you can use Color Space identifier. In the input menu you can force slog 2 or slog 3 interpretation.

[Soumitra Sarkar]

Hi, Nikola Stefanovic, can you send me the yours saying Scene Settings and Colour Space Journey as I can test it... 

[Nikola Stefanovic]

Well, I don't have any Sony footage right now, but I would set working color space to some Sony flavor if all material is coming from Sony camera. I would leave input on automatic from metadata, set color result from stack and for DRT you can try Truelight CAM or Arri Photometric. Viewing color space I assume you want to be P3 DCI, if you monitoring on projector or P3 capable display. You can also set white point in Mastering color space. That should give you clean color space journey.

 

 

Edited January 31, 2019 by Nikola Stefanovic

[Soumitra Sarkar]

Try yours settings... But result is like that... My DoP saying, he hasn't shootings like that

[Andy Minuth]

Hi Soumitra,

as Nikola pointed out a scene-referred working colour space is recommended to maintain the full dynamic range of the image. Baselight is always decoding Sony RAW directly to floating-point linear.

A state of the art colour managed setup would look like this:

• InputCS: Automatic / From Metadata (Sony: Linear / S-Gamut3)
• WorkingCS: Filmlight: T-Log / E-Gamut
• GradeResultCS: From Stack
• DisplayRenderingTransform: TruelightCAM / Automatic
• ViewingCS: According to your display (P3, etc.)
• Insert a Look operator (Scene-Looks) at the bottom of the stack according to the desired colour rendering of the project. 

 

Why does the DP want to grade from a wrong looking starting point (log)? A telecine style setup has some disadvantages and would look like this:

• InputCS: Automatic / From Metadata (Sony: Linear / S-Gamut3)
• WorkingCS: Your desired "log" format, e.g. S-Log 3, etc.
• GradeResultCS: DCI: 2.6 Gamma / P3 D60 *1
• DisplayRenderingTransform: None
• ViewingCS: According to your display (P3, etc.)

*1: I recommend using P3 D60 here for several reasons:

1. The images do not have the ugly greenish white point of P3 DCI
2. Inserted titles look neutral (use sRGB for input and P3 D60 as StackCS for titles)
3. The grade will match better to video deliveries in Rec.1886: 2.Gamma / Rec.709