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 like the attached image, 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!

It sounds like you have a fairly good workflow planned. My only suggestions would be to test to make sure the exposures match, test to make sure the two different Log files are close, test that the colorists is happy with what you are giving him and test that you like the results from the colorist before the actual shoot.

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?)

Seriously, for matching LOG cameras very closely, you are best off to use Color Space Transforms in a program like Davinci Resolve. Learn to use Color Space Transforms under the Project Setting or if trying to match various cameras apply the correct color space transforms for each camera in the color page.

You can apply a color space transform to one of the Canon clips and then select the rest of your Canon clips and apply that transform to all of them. Likewise, you can do the same by applying the S-LOG 3 transform to one and then all your Sony clips.

Your cameras will now be very closely matched colorwise. The color transforms are based on the sensor color data as supplied by Canon, Sony etc to BM for Davinci Resolve. Color matching cameras based on mathematic transformation is one of the reasons to use Color Space Transforms. Transforms are a 32 bit process, so non-destructive, unlike LUTs.

Chris Young

To get an idea, watch this:

SIMPLE DaVinci Resolve Color Management Tutorial - LUTs vs Wide Gamut - YouTube

And for a full rundown check out the relevant page here:

https://www.google.com/search?q=log+color+space+transform+camera+matching&client=firefox-b-d&tbm=vid&sxsrf=AJOqlzU8joPCPBGKK94vq5k40ritdGdvbg:1676135653033&ei=5cznY8zcAYKOseMP3P-i8Ak&start=10&sa=N&ved=2ahUKEwiM48bx-439AhUCR2wGHdy_CJ4Q8NMDegQIDxAW&biw=2144&bih=1015&dpr=0.9#fpstate=ive&vld=cid:010dc549,vid:uuoZzF8vB8g