Workflow advice? Matching colors: Sony FX6 & Canon C300 mk2

[Jason12345]

We are preparing for a 2-camera shoot in a studio, w/ a controlled 3-point lighting set-up (interviews), with 2 cameras on tripods, so no camera motion, or changing light sources.

Of course – we would prefer to use 2 of the same cameras, however we are still in development so cash-strapped and really need to make the most of the cameras we have access to (Sony FX6 & Canon C300mk2) , and so we are seeking workflow advice to optimize our set-up to ensure the images match visually and can be inter-cut.

We will be sure dial in identical settings on both cameras (WB, etc.) and will film a colour chart , prior to rolling each camera, so that the colourist has this reference for matching the 2x cameras in post.

We also intend to film flat/log on both cameras, so on the FX6: Slog3-S-Gamut3.Cine

On C300mkii: Canon Log 2 (which I understand would be the preferable option to Canon Log 3, Canon Log 2 being flatter and more comparable to Slog3?)

I usually film in CineEI, and intend to do the same on this shoot.

We much appreciate any advice relating to our intentions outlined above, and any other workflow advice for our set-up, given our intentions to inter-cut this footage.

Thank you in advance!

[IamOakley]

Sounds like a solid plan re: SLog3 and Canon Log 2. What lenses will you be using? It could be worth doing a lens test if ya have time to see if any have color shifts that will make it a PITA to match. @LensMeAHand did a lens test with photo lenses that you can see here, and the Canon photo lens has a noticeable blue shift.

[LensMeAHand]

Sounds like a solid plan re: SLog3 and Canon Log 2. What lenses will you be using? It could be worth doing a lens test if ya have time to see if any have color shifts that will make it a PITA to match. @LensMeAHand did a lens test with photo lenses that you can see here, and the Canon photo lens has a noticeable blue shift.

Agreed. Lens choice is an important consideration in color matching. One of the reasons cinema lenses are so expensive is because they’re color matched to a set.

Even with the same lenses, matching Canon and Sony will be easier if you shoot a color chart after every slate

[Jason12345]

Sounds like a solid plan re: SLog3 and Canon Log 2. What lenses will you be using? It could be worth doing a lens test if ya have time to see if any have color shifts that will make it a PITA to match. @LensMeAHand did a lens test with photo lenses that you can see here, and the Canon photo lens has a noticeable blue shift.

Thank you! We will be filming with these lenses:

FX6: Sony SEL FE 70-200mm f/2.8 GM OSS II 

C300mk2: EF 70-200mm f/2.8L IS II USM

 

 

 

 

 

 

[Jason12345]

I'm sharing an update on our intended workflow...and seeking confirmation I am understanding how CINE EI functions correctly.

Seeing as we will be taking advanatge of CINE EI mode on the Sony FX6, and following all the very helpful advice online from @alisterchapman, we'll be shooting at 400 EI, so to over expose by one stop, by metering to the on-screen s709 MLUT at the recommended values, i.e. middle grey = 45%, skin tones ~50%, white card 77-78%.

My question relates to the C300mk2 settings, which does not have CINE EI mode, yet we want to similarly overexpose by one stop when filming with its Canon Log 2. Cinema Gamut, and so presumably - to emulate the function of CINE EI on that camera - which also has a native ISO of 800, we can simply drop the ISO to 400, and meter for that exposure - which with Clog2, middle grey should have IRE= 39.8, and then once this exposure is reached at ISO 400, we restore the camera to its native ISO of 800, to begin our recording, thus effectively achieving the same as what we achieved using CINE EI on the Sony - over exposing by one stop. 

Is my understanding correct?  Thanks in advance!