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 →

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 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

ProRes RAW HQ transcoded to ProRes 4444 is brighter, less green, has greater contrast, increased saturation and significantly higher resolution than the internally recorded S-Log3/S-Gamut3 XAVC S-I codec. Below are screenshots of the HDR footage dropped onto a rec. 709 timeline with a custom curve added to preserve highlight detail and a hue adjustment to... Continue Reading →

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