When you dip your toe into the web looking for information you get....a lot of information. Most of it is contradictory and many times what you read as "best practices" runs counter to what you experience when you test things out for yourself. Into this category I will place, "expose to the right", "more (or less) pixels are always better", "You must always shoot RAW", and now, "You need a flat profile or a log profile to do professional quality video."
I understand the theory behind S-Log and the need (desire?) to have the longest tonal range you can get, because you think it may give you more dynamic range, but is it really better to shoot everything in a flat or S-Log profile for work where you have lots of control over light? I'm beginning to think it's one of those artificial, "this is the way we do it" barriers to entry in the video world. A hurdle to jump over, both intellectually and technically, in order to get your "pro" badge to sew on your jacket sleeve. But, as often is the case, I could be wrong.
How I long for the old days when I shot a lot of Super8 film and all you really needed to do was pick the film emulsion you liked best and then meter carefully.......
This all comes up for a couple of reasons. One is that I just upgraded the firmware in my Olympus EM5.2 cameras and one of the improvements is the addition of a "movie" profile that is only intended for video and only accessible when in the dedicated movie setting (movie camera icon set on the mode dial). The other is that I've been working with files from the Panasonic fz 1000 and I find that the files are better looking if I shoot them (lit, interior interviews) exactly the way I want them to appear when I am finished with a project rather than when I use a flat profile and try to do larger curve corrections or color changes in post production. I've developed a method centered around "shoot the way you want it to look" rather than "shoot it super flat for post." I think the super flat S-Log files might be malleable enough to take big corrections if they are coming from enormously expensive super cameras like Arri Alexas and Sony F55, with super high bit rates and 4:4:4:4 Pro-Res files, but I'm pretty sure that most consumer cameras already bake a lot of compression into their video files and making big changes in post production pushes these files past the breaking point.
Then again, I am not a professional colorist so I could be doing lots of things wrong ---- even though I have been slavishly following every tutorial made for DaVinci Resolve, and Final Cut Pro X.
If you have experience using the "flat" profiles with consumer cameras (Nikon D750, D810, Olympus EM5.2, a wide swath of Panasonic G and GH cameras, etc. Perhaps you'd be kind enough to correct me (gently) and give me the gift of your experience-based, knowledge largess.
I think I have the audio pretty well figured out for right now....