I wanted to make this camera test a little more cinematic, so instead of just shooting locked off shots of skies, flowers, faces, etc... to test the dynamic range and what not, I tried to make it a little artsy. Everything was shot bare bones handheld with no rig.
I did the paid upgrade and updated my Sony FS700 to 4K (Still waiting for the Odyssey 7Q recorder) and S-Log 2. This was just recorded on the internal SDHC card using stock AVCHD codec. I have to say, I'm in LOVE with S-Log. Before with Cinegammas, you were getting about 12 stops. According to chart tests I seen on-line, S-Log 2 gives you about 14 stops and it's very, very noticeable. The highlights are absolutely insane now and there's just this really nice, luminous quality to the FS700 footage that was not there before. Even shadow detail is better.
S-Log is obviously very, very flat. I just did a basic grade and added a bit of contrast and saturation. Nothing major at all. Since the internal codec is 8-bit, you cannot grade it that heavily. But the 10-bit 7Q recorder will change all that since it will be in RAW, 4:2:2 10-bit and even 4:4:4 12-bit. Then, you can grade it a lot more. So SICK and I cannot wait.
The main thing with S-Log 2 is exposure is way more critical than before. I exposed everything in the middle of the histogram with Zebras set to 100%. Any shots that are under exposed (like the 2nd shot of the family with the little boy in the cap) is punished with heavy noise when graded. Usually, with most digital cameras (including the FS700 + Cinegammas), I under expose by about 1 stop. NOT so with S-Log, as you will be punished. Stay in the middle, or even slightly over expose; but I think middle is the best.
I had to shoot mainly with zooms because I only had the two sets of kids for about 1 hour each, so I had to work really fast and kids don't exactly listen so it's basically getting what you can before their ADHD sets in and they run off to the next rock.
Lenses used (mostly the zooms to work fast):
Canon 24-105 L IS f4 on Metabones Speed Booster so it was really 17-75 f2.8
Canon 70-200 L IS f2.8 on Metabones Mark II
Tokina 11-16 f2.8
Zeiss and Canon Primes here and there.