![]() ![]() For example, shots of the blue ocean or the greens in a dense forest. Not to say a tonal LUT is bad or doesn’t work – I find they are best suited for situations where your video clip is already one colour. The first 8 LUTs are designed to inject colour into different parts of the image and give a contrast between the subject and the background – which I prefer in most scenarios. Instead of offering just tonal LUTs (where an image's hue is skewed towards one colour, i.e blue, green, orange etc.). In this pack, I designed 12 LUTs that have a bold unique look that works in many different scenarios. I wanted colour grading to be fast when working on projects that had tight deadlines. and I'm sure Sony will release cameras with new profiles, but as of current, this is my go-to colour space when working with the Sony Alpha lineup. Since then I've done a handful of projects shooting and editing with the Sony A7iii, A7Riii, A7sii etc. ![]() After spending quite of bit of time with the camera, I discovered the best way to shoot in my opinion, that being with the Cine colour space. Testing things like S-log and the standard picture profile. I spent hours trying to figure out how to shoot. Thanks to my friends at miggo who gave permission to make the footage available for download.Roughly 6 years ago I decided to pick up the Sony A7S, coming from a Canon T3I I had the toughest time getting colours that looked good once I finished editing. Filming “flat” and adding a look with Filmconvert, gave me the great image I was looking for. In such an overcast day my aim was to try and keep any picture detail I could. A good place to start if you want to get familiar with “understanding histograms” is John Greengo’s video: Your Camera’s Histogram: Explained.Īrmed with this knowledge you can see why I chose S-Log2 to shoot my video. Other than that it’s a good idea to keep track of the histogram on the A7s which should help to get the exposure right. One way to overcome that sensation is to use a monitor with the LUT’s by Alister Chapman in one of his excellent articles (Exposing and Using S-Log2 on the Sony A7s Part One: Gamma and Exposure). In fact the picture looks so washed-out, it almost feels as if you’re doing something wrong. Sony’s S-Log2 gamma that was initially included in their high-end cameras now resides in the little Sony A7s, which makes it one of its big advantages for professional use over other consumer cameras.Īs we found in our dynamic range test the Sony A7s can reproduce 14.1 stops of light in terms of dynamic range. S-Log2 can be set in the preferences menu under Picture Profiles (page 5) and is called: “PP7”.Īs you already know, the thing about shooting in a “flat picture profile” is the dull image you see (which is especially true for Sony’s S-Log2). Feel free to download from the Vimeo page and experiment yourself: LINK Last week I finished shooting / editing another short project with the Sony A7s and let me tell you, besides the toothache I had after the appointment at the dentist, it was pure pleasure to work with this camera!Īt cinema5D we get A LOT of requests from our readers to provide some daytime samples of Sony’s A7s footage with the flat picture profile (S-Log2). Here’s a closer look at unraded / graded footage. Out in field work we continue to be impressed. The new Sony A7s is a very powerful camera. With Sony’s professional S-Log2 gamma curve built-in, we get a new level of quality in a consumer camera. keyboard_arrow_rightCameras of the Year.keyboard_arrow_rightGear Guides by Type. ![]() keyboard_arrow_rightGear Guides by Budget.
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