Introduction to colorist S-Log3/S-Gamut3.Cine
Scott Ostrowsky, Sony Pictures Colorworks
CURTIS: No remedial work. Just actually creative work?
WALTER: Yeah. There is less color space manipulation and more just having fun with the DP.
CURTIS: Which is the way it should be.
WALTER: Yeah. JASON: When you brought in the S-Log3/ S-Gamut3.Cine footage, we pretty much were able to land in a really good place from the beginning. I think we just did a little contrast adjustment, a little saturation adjustment, but they were pretty minor adjustments overall. The image looked pretty good from the get go.
61
SCOTT: You could bring out every little nuance of detail of color and especially in the 4K range. The beauty of the image is that the resolution is all there, but it’s not harsh; it’s natural. It gives a really nice roll off, but yet if you want to really dig something out, you can dig it out without having to fight the image. This current shot (projected on the screen), there’s one grade on it and it’s going from bright whites to deep blacks.