Sony FE 50mm f/1.2 GM First Sample Footage

Our stab at doing a focus breathing test failed miserably, but gives us a pretext to share some screen grabs demonstrating how to expose ProRes RAW HQ.

Avoid bright orange and red of the false color guide of the Ninja V. The touch
of red at the top of the clothes rack will be a white blob in the final video.
Waveform monitor of DaVinci Resolve Studio 17 prior to correction. The clipped
highlight of the reflection of the clothes rack can be seen touching 1,000 nits.
The first thing we do is normalize exposure using the global color wheel
of the HDR palette, bringing skin tones down to below 100 nits.
Using the color chips of the X-Rite ColorChecker, the vectorscope and Hue vs. Hue to correct the colors.
Verifying that skin tones fall on the skin tone line of the vectorscope after correction.

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  1. Pingback: Comprehensive Workflow: Sony a7s III S-Log3 HDR 10 in DaVinci Resolve Studio 17 (Part I) – The Daejeon Chronicles

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