First shot is a master of us dancing. When I post the full motion later, you will see I have no dance skills whatsoever, but for still frames, who would know, right? Again, camera is setup as follows: XAVC 1920x1080 23.98p, S-Log-2, S-gamut, 1600 ISO, 180 shutter, WB at 3200k. Left frame is original log and the right frame is corrected.
(Canon 24mm, f2.8) I wore the white shirt to see how well it stayed in control and Shannon wore a very colorful dress to see how they held up in low light with a color mix. I used one Diva type fluorescent way in the background to see how much it might show of the foliage.
Correction was pretty easy using Fast Color within Premiere Pro CC. In these wide shots, I bumped up the saturation to only 170%.
(Canon 24mm, f2.8) Kind of a drinks scene using a stronger mix of daylight balance and tungsten fill.
(Canon 50mm, f4) Left is log and right is corrected. Closer on Shannon in blue tones. I wanted to underexpose this a stop. In the corrected frame I had bumped up the color saturation to 200%.
(Canon 85mm, f4) Log on the left, corrected with 200% saturation on the right. No noise I can see.
(Canon 50mm, f2) Log then corrected on water feature with candles. I liked how much detail I could pull out in the foliage here without the candles going white.
Another setup worth testing was our walk-in shower at night. Always wanted to try this because we have glass blocks lighting the space from outside. Here you see log and then corrected up so the blocks stayed just under 100%IRE.
(Canon 24mm, f4) Inside the shower under blue daylight balance to show skin tones and glass detail. There was a slight flare in her hair caused by light outside the glass blocks. Typical of photo lenses, they do tend to flare more easily than good cine lenses. Again, this scene is slightly underexposed.
All in all, I am pleased with the results of the slightly underexposed, blue balanced night scenes. It was interesting to see what could be pulled out of darkness and what couldn't. The camera continues to be impressively noise free, even under blue tones. This will be more evident when you see the motion sequences later. I promise they are coming! The next post will show how each of the camera gamma settings looked on the same scene under the same lighting and same f-stop.