Hehehe I kinda called the answer at the beginning. The whole point of S-log3 capture is maximizing the dynamic range of the camera, so looking good out of camera is not the priority. This is where you use a LUT preview on your external monitor to understand what it will look like when you apply a grade. I do think the s-log3 capture with s-cinetone color space is a neat idea though. All you have to do is apply your basic exposure curve, adjust your saturation, and BAM. S-cinetone with the dynamic range of s-log3.
Yes you can, Shoot s-log3, use cinematch to get s-cinetone from the fx9 profile. Also has the rec709 conversion built it. Not to mention you can match arri, red and almost any other camera without mucking around with picture profiles.
Thanks for the video. Just one thing, you say when having the settings the same in both PP8 and PP11 that the results were similar. They will be in fact identical if all the settings remain the same, as the number of the PP in itself is irrelevant, they are just memory settings.
Actually I found the combination of Gamma as SLog3 and Color mode as S-Cinetone works best for me creating best HDR videos just simply setting Color Managment in Davinci from SLog3.Cine to Rec2100 ST2084 with no additional LUTs.
Matt, thanks for the video. But I just have one question- What color is your t-shirt?:) After color grading in S Log its turquoise, but with Cinetone profile it's purple.
I shoot in slog 3, and in Resolve, I work in HDR colour space...for my slog clips, I just tell Resolve that the input colour space is S-Gamut3.Cine/Slog3 and this gives me a much niceer, more dynamic image to work with...same S-Cine look but with Slog dynamic range and just some minor colour tweaking needed
Matt, I clicked on your WhoISMATTLuts, but the examples were from SLOG 3 to LUT applied. Do you have any examples or videos of what footage looks like with S-Cinetone and then applying your LUTS? Thanks
I don’t know about straight out of camera but straight out of Atomos Ninja, it very easy. With the last ear updates, you can load the luts you normally use in your editing software and check the options to bake that lut into the recording. I’m planning on using it for zoom calls.
I come from photography and these base iso settings are killing me. 😂. I’m trying to maintain 24 fps at 1/50 plus control my depth of field. It’s like I have to sacrifice my desires laugh out loud to match iso
Quick question, or you can point me to a video if needed, what does black level, black gamma and Knee do? Is this something we shouldn't mess with or is there potential of lifting the blacks even further? Thanks
I know this is an old vid now, but did you ever try Slog-2 with S-Cinetone? I just used it and it looks great SOOC while giving a great middle ground between DR and colors without having to grade
Hi Matt. Interesting profile combos!! Have you noticed on your A7siii that the image in the EVF jitters just in the HD and 4K S-I codecs? Absolutely fine on everything else. Just wondering if you’ve encountered this or it’s just my unit.. Hope you’re well! Thanks for the content!
@@whoismatt I'm over here with blank patches on my cheeks or I'd join ya 🤓 Loving these A7Siii videos, thank you so much for all the work you're doing on them!
As someone who is in this exact situation, if you don't have at least $3,000 cash on hand to invest into a custom pc setup, then proxies are essential with working with that high quality of footage. Some specs I would consider for a setup are below. - Intel i9-11900k CPU (High quality CPU is the most crucial part of an editing build) - NVIDIA RTX 2060, 2070, or 2080 - At least 32GB of ram - 1 NVMe hard drive (At least 256GB, and make sure your motherboard has an NVMe slot) - 1 SSD at least 2TB - 1 HDD at least 4TB
QUESTION: if I decide to shoot with combination of Gamma as SLog3 and Color mode as S-Cinetone, which duel native ISO would I chose for the A7SIII (since the duel native ISO is different between SLog3 and S-Cinetone)? I'm assuming the duel native ISO associated with SLog3?
Yes and no? Yes you can change gamma/gammut. No it wont look good straight out of camera. You still need to normalize the input gamma (slog3) to the output gamma (Rec709). You could however use this in a few ways creatively. If you had color space transform in premiere you could just change the gamma to Rec709 in post. (Or use a gamma lut). One other thing would be film print luts as they expect log gamma but with a saturated gammut (as in cineon log).
But what if.. like my case .. i cant use SLOG-3 cause my laptop is not powerful enough for 4k 10 bit 2:2:2.... first question: is it right that if you don´t shoot at 10 bit, it is better to shoot in SLOG2 than SLOG3??? in that ...case would you use SLOG2 or CINETONE??? Would Slog2 look better than CINETONE after coloring?? what would be your best settings if you have a workstation not powerful enough for 4k 10 bit 2:2??
amazing video thank you very much for sharing this. Could you tell me the name of the effect you are using to compare between ungraded and graded (e.g. ua-cam.com/video/0Ktq6gRcyeg/v-deo.html )?
😍 Color grade SLOG3 & S-CINETONE FAST with my presets: whoismatt.com/luts
do you offer 30 days money back guarantee
Hehehe I kinda called the answer at the beginning. The whole point of S-log3 capture is maximizing the dynamic range of the camera, so looking good out of camera is not the priority. This is where you use a LUT preview on your external monitor to understand what it will look like when you apply a grade. I do think the s-log3 capture with s-cinetone color space is a neat idea though. All you have to do is apply your basic exposure curve, adjust your saturation, and BAM. S-cinetone with the dynamic range of s-log3.
Yes you can, Shoot s-log3, use cinematch to get s-cinetone from the fx9 profile. Also has the rec709 conversion built it. Not to mention you can match arri, red and almost any other camera without mucking around with picture profiles.
I was honestly just looking into this today. Unbelievable timing. Thank you so much!
Haha awesome! Perfect timing!
Thanks for the video. Just one thing, you say when having the settings the same in both PP8 and PP11 that the results were similar. They will be in fact identical if all the settings remain the same, as the number of the PP in itself is irrelevant, they are just memory settings.
You are correct, but I knew people would ask if I didn’t do it 😂
Actually I found the combination of Gamma as SLog3 and Color mode as S-Cinetone works best for me creating best HDR videos just simply setting Color Managment in Davinci from SLog3.Cine to Rec2100 ST2084 with no additional LUTs.
Matt, thanks for the video. But I just have one question- What color is your t-shirt?:) After color grading in S Log its turquoise, but with Cinetone profile it's purple.
I shoot in slog 3, and in Resolve, I work in HDR colour space...for my slog clips, I just tell Resolve that the input colour space is S-Gamut3.Cine/Slog3 and this gives me a much niceer, more dynamic image to work with...same S-Cine look but with Slog dynamic range and just some minor colour tweaking needed
Digging the new lighting setup
Thanks! Just moved, still tweaking things :)
Matt, I clicked on your WhoISMATTLuts, but the examples were from SLOG 3 to LUT applied. Do you have any examples or videos of what footage looks like with S-Cinetone and then applying your LUTS? Thanks
I don’t know about straight out of camera but straight out of Atomos Ninja, it very easy.
With the last ear updates, you can load the luts you normally use in your editing software and check the options to bake that lut into the recording. I’m planning on using it for zoom calls.
I come from photography and these base iso settings are killing me. 😂. I’m trying to maintain 24 fps at 1/50 plus control my depth of field. It’s like I have to sacrifice my desires laugh out loud to match iso
So i shot one camera in SLOG3 and my 2nd in vlog cinetone !!! And i cannot match them.
Quick question, or you can point me to a video if needed, what does black level, black gamma and Knee do? Is this something we shouldn't mess with or is there potential of lifting the blacks even further? Thanks
I don't even shoot Sony, but I still need to watch this for some reason...maybe it's the beard glamour shots 😏
🧔🏻
I know this is an old vid now, but did you ever try Slog-2 with S-Cinetone? I just used it and it looks great SOOC while giving a great middle ground between DR and colors without having to grade
Do you expose two stops over when setting this?
Hi Matt. Interesting profile combos!!
Have you noticed on your A7siii that the image in the EVF jitters just in the HD and 4K S-I codecs? Absolutely fine on everything else. Just wondering if you’ve encountered this or it’s just my unit.. Hope you’re well! Thanks for the content!
This profile settings works in the sony A7III??
Lookup lutcalc tutorial. You can create a conversion lut.
Can you dhoot in s log but view image in s cinetone?
Love these glamour shots 🤣
Haha! Thinking of becoming a beard model
@@whoismatt I'm over here with blank patches on my cheeks or I'd join ya 🤓 Loving these A7Siii videos, thank you so much for all the work you're doing on them!
hi matt do you have any recommendation for a pc setup that can work properly with sonya7s3 footage without using proxies ?
As someone who is in this exact situation, if you don't have at least $3,000 cash on hand to invest into a custom pc setup, then proxies are essential with working with that high quality of footage. Some specs I would consider for a setup are below.
- Intel i9-11900k CPU (High quality CPU is the most crucial part of an editing build)
- NVIDIA RTX 2060, 2070, or 2080
- At least 32GB of ram
- 1 NVMe hard drive (At least 256GB, and make sure your motherboard has an NVMe slot)
- 1 SSD at least 2TB
- 1 HDD at least 4TB
QUESTION: if I decide to shoot with combination of Gamma as SLog3 and Color mode as S-Cinetone, which duel native ISO would I chose for the A7SIII (since the duel native ISO is different between SLog3 and S-Cinetone)? I'm assuming the duel native ISO associated with SLog3?
Hi Matt, would you apply the same ISO levels in this instance if you were to combine S Log 2/3 with S-Cinetone? Thanks
Fuji has an Eterna LUT for FLog, so I think Sony needs an S-Cinetone LUT for SLog.
cinematch does it.
Would the A7s III settings download work with the FX3?
Unfortunately no :( While the cameras are very similar Sony doesn’t allow the preset file to work interchangeably
yes
Yes and no? Yes you can change gamma/gammut. No it wont look good straight out of camera. You still need to normalize the input gamma (slog3) to the output gamma (Rec709).
You could however use this in a few ways creatively. If you had color space transform in premiere you could just change the gamma to Rec709 in post. (Or use a gamma lut).
One other thing would be film print luts as they expect log gamma but with a saturated gammut (as in cineon log).
But what if.. like my case .. i cant use SLOG-3 cause my laptop is not powerful enough for 4k 10 bit 2:2:2.... first question: is it right that if you don´t shoot at 10 bit, it is better to shoot in SLOG2 than SLOG3??? in that ...case would you use SLOG2 or CINETONE??? Would Slog2 look better than CINETONE after coloring?? what would be your best settings if you have a workstation not powerful enough for 4k 10 bit 2:2??
I would make proxies :) then even a low powered computer can edit 4k
My Sony 7s3 camera does not have pp11, Y like that,I bought 2 days ago
Update your firmware :)
I do not know anything about this camera
@@whoismatt How to update, Any video available
Google Sony a7siii firmware update and go to Sony’s site. Download the firmware and follow the instructions in the program
@@whoismatt Ok thank you so much for replying
I spy a Silver Bear in that first comment!
They have been spotted in the wild from time to time
Hey, uploaded 3 hours ago, not bad.
You were quick!
amazing video thank you very much for sharing this. Could you tell me the name of the effect you are using to compare between ungraded and graded (e.g. ua-cam.com/video/0Ktq6gRcyeg/v-deo.html )?
Woah
😮
Luts are very expensive
Worth every penny, especially if you do weddings. They’re my new go-to.