FCPX A7s LUTS COLOR CORRECTION PP ETC.

Hey guys and gals, To put it straight and boldly - who wants to share their A7s FCPX workflow. I bought my new A7s, I work in FCPX and I want to be able to use the awesome dynamic range of the new camera through FCPX. What do you guys do? how do you color correct? What plug-in do you use if any?

Luts? only fcpx? A7s picture profile?

All the best and thanks for the wealth of information in advance.... "what goes around comes around"

happy kharma

I also have an A7s and find it to be stunning. Despite what many have said about SLOG2 being unusable and poor colors, I think they all must be crazy because the results I'm able to get are extraordinary. Here is my workflow:

1. I use Edit Ready to import my clips for the very important reason that the camera resets the filename every time you format the card. Edit ready rewraps the clip and changes the name to a timestamp, resulting in unique filenames. While this may not matter for you, on a big job that you plan to send to Resolve, if you have several different clips with the same filename, it might be hard to relink or figure something out if things go wrong. I don't use Edit ready to transcode, as the optimizing in FCPX is the fastest around.

2. Once my clips are in, I transcode to optimized usually and begin to edit. For coloring, I am using LUT Utility from Color Grading Central and I use some of the free LUTS from Casey Wilson ( caseywilsondp.com/2015/03/18/a7s-slog2-3d-luts-for-shogun/ )

I'll typically throw an Adjustment Layer on top of everything and drop the LUT in. It's supremely important to use a LUT and not just try and color with the color correction tool if shooting SLOG. It's a vastly different colorspace and if you don't use any sort of LUT, I find that the skin tones become wonky. I don't use a LUT for grading, rather I use it to get it back to 709 color space, and then I perform my grades using the standard FCPX color board (which I'm rather fond of).

IMPORTANT POINT ABOUT SHOOTING WITH THE A7S!
If shooting SLOG, overexpose by 1-2 stops otherwise the footage can be noisy. The LUTS that Casey provides take this into account. Other LUTS might not and you might have to drop the global exposure up or down to make it work, but I haven't yet found the conversion from stops to percent for that tool. Wish it behaved a bit more like a lightroom adjustment...

Awesome workflow. I have to agree that SLOG is very powerful.

Any other workflows that differ or are similar?

SUPER!!!!!

I'll be sure to check out the LUTs you mentioned....