I'm struggling trying to color correct footage taken with a Sony 7sIII and Sony FX3. See the attached document for the technical details of S-Gamut3.Cine and S-Gamut3. I'm not sure what the exact recommendations for the Sony A7sIII and FX3 are, but I'd expect them to be pretty close. Your log image looks pretty decent, but might be somewhat overexposed. setting the value at 5500 because that's what the tubes claim. Depending on the CRI rating for that light you might have significant differences between the real white balance vs. You mention "Kyno-like" light set, which I take as not an actual Kyno light, but some other brand with a similar style. Manually white balancing using an 18% Grey Card. exposing the brightness of the image at 61 IRE (which results in a more contrasty result when grading and also recommended for most of the Sony cameras), and 2. I believe a key factor to getting good results involves two primary things. We shoot in Slog3 frequently with a Sony PXW-Z280 and if grading in FCP we apply the S-Gamut3.Cine LUT as a starting point. I'll try to do a more controlled test to check all of this. It's very easy to clip that on standard profiles. Then I prefer slog just in case some white clothing gets too much light. While this was a controlled enviroment I was shooting with two cameras, and while they are very similar they always need some matching. I shoot slog3 just because it has more dinamic range, and better handling of iso noise (specially overexposing 1 or two stops). I don't think the problem here is white balance (IMO) but the LUT or the way I'm trying to recover the 709 space. I know that the most accurate way to do it would it be doing it manually, but in general this minor casts can be easily corrected. I have set the white balance to 5500 as the tubes are. I don't think you will notice any difference because of that (in terms of color accuracy). I've replaced the dropbox file with a portion of the original. mov, I just exported that from fcpx for speedind up the test. Spice up your videos with pre-built animations that have a transparent background, just like how a PNG iamge works, but for video.Ĭompleitble in all professional editing software such as DaVinci Resolve, Premiere Pro, AVID, Filmora, Movavi, and much. Read more about what LUTs are and why LUTs are amazing for some people. This is why LUTs are ultra useful for specific types of people. They want to pump out videos that look decent, so they can work on other things that matter more to them. For example, Youtubers and Business owners don't have time to spend passionately learning how to color grade. This route is always the best route if you have passion and time as you will receive your favourite results, because it's from your mind.īut some users just don't have it in them. Some Filmmakers have a very artistic eye and love designing the color themselves. Also of course, LUTs aren't for everyone. Some colorists spend many years color grading different types of Log footage. Being able to place a look onto your footage and have it corrected to a pleasing look while getting more dynamic range out of your camera, is a huge time saver and upgrade! It's an art in itself and it's not something you can learn quickly. This caused a lot of people to get frustrated that they would need to color grade after shooting anything if they wanted the extra dynamic range, especially if they have a quick turn-around on an edit. So let's say, color grading isn't for everyone. One issue that came with this, is that everyone had to learn color grading when using Log. Giving the ability to have a higher dynamic range than standard color, without losing detail in the shadows and highlights. As Sony cameras became more popular, S-Log 2 & 3 introduced many Filmmakers to using Log color profile. S-Log color space was a big driver for many users to learn how to use LUTs. They gave the user everything they needed while capturing, like multiple XLR inputs for audio, high bitrate, low power consumption and much more. Many Sony cameras were becoming the favourite, such as the FS5 and FS7 for professional work. Just like when the A7S1 was released, it revolutionised the industry with it's low-light capabilities and small design. Sony cameras have been leading the way for many years in the Filmmaking scene.
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