Mastering S-Log Colour Grading in Final Cut

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Mastering S-Log Colour Grading in Final Cut

Table of Contents:

  1. Introduction
  2. Common Misconceptions about Color Grading S-Log
  3. The Importance of LUTs in Color Grading S-Log
  4. Building the Signal Chain for Color Correction
  5. Applying the S-Log to Rec 709 LUT
  6. Adjusting White Balance
  7. Fine-tuning Exposure
  8. Balancing Contrast and Exposure
  9. Adding Color to the Image
  10. Finalizing Skin Tone Correction
  11. Conclusion

Article:

Introduction

Color grading S-Log footage can be a challenging task, and many people find themselves struggling to achieve the desired results. In this article, I will provide You with a step-by-step guide on how to effectively color grade your footage while debunking some common misconceptions along the way.

Common Misconceptions about Color Grading S-Log

Before diving into the technicalities of color grading S-Log footage, let's address some common misconceptions that often make the process more complicated than it needs to be. Many tutorials on YouTube suggest color grading S-Log without using LUTs, claiming it to be a more effective approach. However, this can be misleading and discouraging for beginners. While it is possible to manually convert S-Log to Rec 709, it requires experience and reference tools like a color checker. Moreover, a proper conversion from log to Rec 709 is more than just adjusting a few color wheels. Each clip in your timeline may differ in contrast, exposure, or saturation, making it challenging to achieve consistent and predictable results.

The Importance of LUTs in Color Grading S-Log

Although many YouTubers offer their own LUTs, it is not necessary to avoid them altogether. In fact, most manufacturers provide LUTs that can be downloaded for free from their websites. For example, Sony offers conversion LUTs specifically designed for their S-Log footage. While it is possible to do the conversion manually, even experienced colorists like myself rarely undertake this task. Using LUTs saves time and ensures a solid foundation for further color grading adjustments. To illustrate this point, consider an analogy: even though a carpenter can craft their own tools, they don't start by making a hammer when their goal is to build a chair. Similarly, utilizing manufacturer-provided LUTs allows you to focus on the artistic aspects of color grading rather than getting lost in technical conversions.

Building the Signal Chain for Color Correction

To set up an efficient color correction workflow, it is essential to establish a proper signal chain. In my case, I prefer to use adjustment layers, as it offers a more streamlined approach. The signal chain I use consists of white balance, exposure, conversion, contrast, and HSL and secondaries adjustments. This sequence ensures a smooth and logical progression in the color grading process. To learn more about setting up your signal chain and its advantages, you can refer to a linked video in the description.

Applying the S-Log to Rec 709 LUT

Once our signal chain is established, the first step is to Apply the LUT for the color conversion from S-Log to Rec 709. This should be done as early as possible in the signal chain, preferably after the exposure adjustment. Applying the LUT sets the correct gamma curve and provides a solid starting point for further color grading adjustments.

Adjusting White Balance

After applying the LUT, the next step is to adjust the white balance. This can be done either on a dedicated adjustment layer or directly on the clip itself. To ensure accurate white balance, I recommend using a reference point like a color checker. By activating the video scopes and switching to the vector scope, you can precisely center the white balance point. The use of a check layer can be beneficial in cases where the footage lacks saturation, as it allows you to boost saturation temporarily for easier adjustment.

Fine-tuning Exposure

With the white balance set, we can move on to adjusting the exposure. To determine which areas of the image need exposure adjustments, we can rely on visual cues rather than relying solely on numerical waveforms. By comparing three squares representing different brightness levels, we can focus on the luminance information without being distracted by the color information. Adjusting the exposure using global wheels helps maintain consistency in the footage and prevents unnecessary adjustments in other areas.

Balancing Contrast and Exposure

The next step in the color grading process is to fine-tune contrast and exposure. By enabling the check layer and desaturating the image, we can focus solely on adjusting the color wheels to achieve the desired contrast. Curves can be used to smooth out any remaining inconsistencies and refine the overall look of the image. By comparing the before and after results, you can appreciate the significant improvement achieved through careful adjustment of contrast and exposure.

Adding Color to the Image

Now that we have established a solid foundation for color grading, it's time to bring the image to life by adding color. This can be done by adjusting the hue, luminance, and saturation in that order. Enabling the saturation boost on the check layer allows us to focus solely on adjusting the hues without distractions. Using Hue Saturation Curves, we can adjust each hue individually and fine-tune the color balance. Minor adjustments to luminance may be necessary to increase contrast, but it is advisable to exercise caution, especially when working with 8-bit footage. Finally, we can adjust the overall saturation to bring out the desired vibrancy in the image.

Finalizing Skin Tone Correction

To ensure a natural and pleasing look, it is crucial to pay special Attention to skin tones. By adding another Hue Saturation adjustment layer specifically for skin tones, we can fine-tune their appearance without affecting the rest of the image. Placing a mask over the face or any other Relevant areas allows us to focus solely on manipulating the skin tones. By taking into account the skin tone indicator line, we can achieve a well-balanced and visually appealing result.

Conclusion

Color grading S-Log footage may seem daunting at first, but with proper understanding and a systematic approach, it can become a rewarding and creative process. By debunking common misconceptions, utilizing LUTs, setting up an effective signal chain, and following the step-by-step guide provided in this article, you can achieve predictable and professional-looking results in your color grading endeavors.

Highlights:

  • Debunking common misconceptions about color grading S-Log footage
  • The importance of utilizing LUTs for efficient color grading
  • Building a solid signal chain for effective color correction
  • Applying the S-Log to Rec 709 LUT for a proper color conversion
  • Step-by-step guide for adjusting white balance and exposure
  • Fine-tuning contrast and exposure for consistent results
  • Adding color to the image using hue, luminance, and saturation adjustments
  • Finalizing skin tone correction for a natural and pleasing look

FAQ:

Q: Can I color grade S-Log footage without using LUTs? A: It is possible, but it requires experience and reference tools like a color checker. Utilizing LUTs saves time and ensures a more consistent color conversion.

Q: Should I download manufacturer-provided LUTs or use custom LUTs? A: Manufacturer-provided LUTs are specifically designed for their S-Log footage and offer a reliable starting point. Custom LUTs can be used if you have a specific creative intent.

Q: How important is setting up a signal chain for color correction? A: Setting up a proper signal chain ensures a logical progression in the color grading process and makes adjustments more manageable and organized.

Q: Can I adjust white balance without a color checker? A: While using a color checker provides the most accurate white balance, you can adjust it visually by comparing the image to a reference point.

Q: How can I achieve consistent exposure adjustments in S-Log footage? A: By using global wheels and visual cues, such as comparing different brightness levels, you can achieve consistent exposure adjustments throughout the footage.

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