We are filming most of our interviews presently using our Sony PMW F5 camera. For our contract projects that we edit and color correct I like to film using Slog2 with the LC709typeA LUT, 23.976, 4K for 1080 or 2K. Slog on Sony F5 F55 cameras will give you 14+ stops of dynamic range or 14 stops between the minimum and maximum light intensities. To find out more about Slog watch the short video Slog simply explained below.
Sometimes while filming an interview in REC 709 or Hypergamma I can see on my waveform monitor that windows in the background where clipping or overexposed. I sugested to one client we revert to SLog but he said no color corection was not in the budgent. My second choice then is to set the camera up to bake-in SLog outputing one of the 709 LUTs baked-into the scene. Doing this will only require some minor color corection mainly lift, gamma and gain correction. This can easily be done during the edit session, no look-up tables are required because the LUT is already baked into the scene using the camera settings.
Shooting 4K for 2K or 1080 allows me to reframe or zoom in or out of a scene in post which allows more flexability in the final cut.
Lighting used is mostly Kino Flo lights, we have Divas, Barflys and Celebs. We just purchased a new light called the Quasar Scientific 4 foot 6 bank light which is made-up of six four foot long tubes similar to a Kino Flo 4 foot 4 bank unit. The lights inside the tubes are LEDs, each tube has a crossfade dial allowing control of the light temperature from 2000 to 6000 degrees’ kelvin. Result is a very clean bright soft source. The tubes can also be removed from the fixture and setup individually or in groups around the set.
Lighting setup with the Quasar 4 foot 6 bank LED light.
Gaffer Jason Hurbet lighting a scene using the Kino Flo Celeb as a key light