Andy Munitz, Professional Audio and PVM-X Series Monitor Sr. Product Manager, Sony, talked with ProductionHUBTV about the PVM 4K HDR monitors during lockdown. “We realized that in the world of monitoring that we're in today - and certainly if production 4K is really prevalent - and so we needed this monitor to be able to... Continue Reading →
Sony Color Management Updates
Here are the revised settings for Sony S-Gamut3.Cine/S-Log3 and ProRes 4444 XQ Rec.2100 ST2084 (from ProRes RAW), the chief difference being no more input or output DRT. Only restrict output color space to P3-D65 if the mastering display is calibrated to P3. Set 'HDR mastering is for' according to the capabilities of the mastering display.
Random Thoughts On Sony S-Gamut3
The whole S-Gamut3.Cine S-Gamut3 thingy is kind of a mess, at least when it concerns ProRes RAW. If you shoot XAVC internal and import the clips into Resolve, it doesn’t recognize the color space at all, at least not with our a7s III. And when recording ProRes RAW externally with the Ninja V, Final Cut... Continue Reading →
We Need Your Feedback!
The job of color management is to take what the camera saw and transform it into what the display can show. That's Cullen Kelly's definition of color management. And when we perform what is one of the most basic types of color management - simply placing a single CST at the very end of our... Continue Reading →
Sony Venice 2 LUT + Komodo Extended Ver.
https://youtu.be/uEcmBKzWbp4 Here's the workflow for those who are interested. https://daejeonchronicles.com/2022/11/14/josh-pines-sony-venice-lut-with-red-ipp2/
Josh Pines’ Sony Venice LUT With RED IPP2
https://youtu.be/qUDhKYTAKlo Look 1, developed by Picture Shop Senior Colorist Jason Fabbro (Captain Marvel, Thor:Ragnorak, Ready Player One) was created using the Lo Con Base LUT and offers slightly more contrast and saturation, while the reds and highlights have been pulled down to look less digital. Download the original movie here. Four of the new custom... Continue Reading →
Sony Releases New Custom LUTs for the VENICE 2
https://youtu.be/isTA4DB149s Sony has teamed up with some heavy hitters - Josh Pines (Titanic, Saving Private Ryan, The Revenant), Chris Kutcka (Kill Bill, Pirates of the Caribbean), Jason Fabbro (Captain Marvel, Thor: Ragnorak, Ready Player One) and Tony D’Amore (Fargo, Elementary, Daredevil, Mayans MC) - to create a series of custom LUTs for their flagship cinema... Continue Reading →
Cine EI Pushback From Inmates in an Asylum
Sony's Cine EI - just like ARRI, Canon, Panavision, Blackmagic, RED, Kinefinity and every other cinema camera manufacturer's EI - allows you to prioritize shadows or highlights by allocating more stops of dynamic range, or latitude, above or below middle gray, and letting the photographer preview its effect using monitor LUTs, giving an indication of... Continue Reading →
FX3 Netflix Approved
As a result of massive firmware update 2.00 that enables timecode, Cine EI and a number of other noteworthy improvements, the FX3 has joined the coveted list of Netflix Approved cameras. This is the first time we recall seeing the Ninja V mentioned in connection with a Netflix Production Guide, meaning that recording ProRes RAW... Continue Reading →
Cine EI in a Nutshell
Since Sony firmware update 2.00 for the FX3, a bunch of videos have popped up on YouTube trying to explain how Cine EI works but most miss the mark. Alister Chapman has written a virtual encyclopedia on the subject but it will make your eyes glaze over before you lapse into a permanent coma. Hopefully,... Continue Reading →
The Spin Machine in Action
We've gathered together a bunch of titles of some of the most popular YouTube reviews of the Sony a7s III and the RED Komodo for your reading enjoyment. A suspiciously high number of a7s III reviews include the word 'perfect' while most of the Komodo ones concentrate on price, often vastly exaggerating the true cost... Continue Reading →
RIP Sony a7s III
https://youtu.be/k3TWqb6LYTY It doesn’t appear to be getting the attention it deserves, but Sony’s firmware update 2.00 for the FX3, their popular entry-level cinema camera, just rendered the a7s III obsolete. In an effort to better integrate the the FX3 with the rest of their cinema lineup that includes the FX6, FX9 and Sony Venice cameras,... Continue Reading →
Cullen Kelly’s Kodak 2383 LUT + DL
The aggressive compression algorithms of streaming platforms destroy grain, which is why we don’t upload videos with grain to YouTube. Instead, we’re offering subscribers the opportunity to download clips, allowing you to view the picture as it was intended. We recommend throwing the movie on the timeline of your favorite NLE, setting the project to... Continue Reading →
Venice 2 Rolling Shutter Crushes It
The German website Slashcam, currently testing the Venice 2, had nothing but superlatives for its rolling shutter performance, pronouncing it the very lowest they have ever measured for a non-global shutter, leaving the competition in the dust. “When measuring the rolling shutter reading times, Venice pushed us to our limits. Or to the limits of... Continue Reading →
Back to Basics
We're not gonna lie - it's great to be able to just hook up the SSD from the Ninja V and start grading the RAW files immediately in Final Cut Pro with no transcoding. Apart from using it to white balance our shots, we've ditched the bad old ColorChecker altogether. Color charts are made for... Continue Reading →
S-Gamut3 or S-Gamut3.Cine?
We've written extensively about the benefits of shooting RAW but once you've picked up your Ninja V, you might still be wondering which color space to use. For HDR acquisition, we recommend: Format ProRes RAW HQ or ProRes RAW Quantization 16-bit linear OETF S-Log3 Color Space S-Gamut3 or S-Gamut3.cine Dolby writes, "Where content is going... Continue Reading →
Sony a7s III Noise: Internal Codec vs. External
Both clips were shot at base ISO 640. The internal codec was XAVC S-I S-Log3/S-Gamut3, the external was ProRes RAW HQ via the Atomos Ninja V which was then transcoded to ProRes 4444 in Apple Compressor. Sony a7s III in-camera noise processing is splotchy and enlargement reveals unsightly banding artifacts, whereas the externally recorded footage... Continue Reading →
Sony a7s III Internal Codec vs. ProRes 4444: Round 2
We added sharpening to the XAVC S-I clip just to make it a little more challenging. Can you tell which is which? https://youtu.be/LvywZXFZkFA Sony a7s III XAVC S-I internal noise processing is splotchy and exhibits banding artifacts. ProRes 4444 noise reduction in post. Settings: Temporal - Faster - Medium -Luma 2 - Chroma 2. Noise... Continue Reading →
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