Brilliant, thanks Philip. Thanks also for the offer on the 2nd FX9... I'm just trying to work out what an old FX9 is now worth. What shall we say... £900 ?
@@AljosaMilenkovic 😂... I recon you've still got the best camera around and I'm definitely keeping mine! Just ask Philip to get that long lens S35 shot in 4K !!!
It's because the FX9 offers us S-Cinetone colours, which are meant to mimic the Sony Venice, which looks wonderful and most of us can't afford !!! (it also helps when matching two Sony cameras with usable pictures that you know clients won't grade)
I don't... in this case it may be easier to shoot S-Log3 on the FS7 and burn-in one of Alister Chapman's great LUTs... www.xdcam-user.com/2018/08/new-venice-look-luts-version-3-includes-minus-green-luts-for-fs5-fs7-f55-a7s-a7r/
Looks good. But the a7s III is a little too warm/yellow. Especially noticable in the white car that drives through the shot at 04:20 Is there any way to correct for that?
I see what you mean on that shot but the whites look right on all the charts. I wonder if that was something to do with the white clipping or my poor exposure control when I did those shots!!! If you're having issues in normal use, then it could be the white balance? (or take a click off Y in the colour depth settings... be careful though because all the colours interact)
Wow, this gets the A7s III pretty damn close! Just did a few quick skin tone tests and this is the real deal. Show the channel some love guys, I can tell a lot of work went into this!
Truly a gentleman and scholar, where do I send squid for a pint mate? You've opened the genie bottle here... I literally punched in the settings and just threw the 7Siii into the deep end of the pool on a paid gig with no testing, the minute I turned on the monitors I knew it was gold... I'm a truly grateful for your contribution to the community, frigging brilliant mate! The image is lovely.... in the edit sutie now. Bravo!
Wow... straight out on a paid job... that's very brave! Your confidence is appreciated and I'm pleased it's working well for you. Thanks for letting me know.
Thank you so much for this!! My only question now is do you have any tips for nailing exposure with these settings? I've been using Paul Leeming's LUTs with SLog3 and the ETTR (expose to the right) method with my zebras set at Lower Limit 94+ which he has listed in his manual. I know in some video environments, people will set their zebras at around 70 and then expose until they get zebras on the subjects skin. Do you have any tricks like that for nailing exposure with these settings? Thanks so much! Subbed!
Hi Ben, I used to ETTR with my A73 and even the old F5 simply because you needed to overexpose a little so you could lower the pictures in post and therefore lower the noise in the shadows. I'm not convinced you need to do it with the latest Sony sensors because they are so clean, even in the shadows. As long as you don't go mad with the higher ISO's... The original Sony cameras wouldn't allow any noise reduction when using Slog, but now the A7S3 won't let you turn noise reduction off !!! I've been setting my zebras to 70% and just getting a tickle of zebras on the hot spots... which for me is trying to nail the exposure in camera! Best thing is do a few tests and see what you prefer... just keep an eye out for noise in the shadow areas.
Hey, great stuff you've got on your channel. Subscibed! I was wondering if you could do an A7S III version for slog3 s-cinetone and another your favourite profile using s log3, since we've got 10bit now :) Thanks.
“Inundated with three or four requests...” 😂 - your channel is great! Keep up the great content. I hope you get a chance to play with a Canon c70 and give your thoughts... I just took delivery of mine and look forward to your sage insights. Also, Merry Christmas.
Thanks Scott... I'd love to play with the C70. I've heard good things so I need to borrow one asap. At least you get to play with it over Christmas... enjoy, and have a good one! 👍
@@extrashot Thanks Paul... the colours you have been able to get out of the FX9 and A7SIII (as demonstrated in this video) gave me pause, but the C70 looks the most user-friendly for someone making the jump from a GH5. Plus I do like the organic look some seem to have achieved with the DGO sensor and C-log combo. Can't wait to dive in.
I'm wondering if would be possible to derive a LUT, or list settings for one of the NLE's (Final Cut, Premier, Davinci, or Nitrate - but not all of them, of course) that would turn SLog3/S-cinetone3 into S-Cinetone? I understand this is contrary to the convenience of looking good right out of the box ....
Oh there definitely already is... s709 is the official Sony Venice LUT, which should get you in the ball park, but Alister Chapman has done some much better ones here: www.xdcam-user.com/picture-settings-and-luts/ or www.xdcam-user.com/2020/01/new-s709-lut-for-the-fx9-thats-less-green-than-the-sony-lut/ Just buy him a coffee if you find them useful.
Unlike the A7III which really struggled with these settings, this looks absolutely spot-on. The skin tones are a fantastic match and look brilliant. I can tell you spent a long tweaking it, my hat is off to you. Do you think it's the 10 bit 4:2:2 that is making this difference possible?
Thank you... it's really good to hear the skin tones are working well for you. I suspect you may be right about the 10bit 4:2:2... it definitely makes a visible difference to what we can do with the colours.
A custom white balance is essential if you are matching Cinetone with another camera, but not so vital if you're just after a good looking solo picture. You can use any PP as they are all the same. They're just memory positions for custom profiles... if you muck one up, there's a reset function at the bottom of each menu which puts it back into the default profile. I believe the official S-Cinetone from Sony will be in a new PP11 position! Thanks for the kind comment, it's appreciated.
Those greenish skin tones (and greenish everything else at times) are what has turned me off from Sony across the line for years. But colors I'm seeing from the A7SIII and FX6 have been much, much more appealing. I'm not really the market that Sony is going for with the FX9 but I'd still second the call for them to tweak the FX9 to be more like the FX6 and A7SIII color-wise. That said, as a Sony-semi-skeptic, what you're showing from the FX9 and A7SIII looks great, and they're an excellent match.
Thanks Thomas, I do agree that standard Sony colours have been a bit 'off' for years. It's like they got stuck with the 1980's REC709 from TV studio cameras. But to be fair, things started to change with the Venice and now we're seeing the effects of that 'look' filter down throughout the range. Now the A7S3/FX6 colours are right up there with the best from anyone. With everyone shooting Log or Raw it shouldn't matter so much, but colours out of the box really do help sell cameras. I'm just surprised it's taken them this long!
Thank you for doing this and sharing so kindly. I will try this out very soon. I've had my A7siii for about 3 weeks, and been trying out different looks / profiles - but have mostly shot S Log 3 Cine thus far. (it's interesting to compare the same scene from that camera to my FS7 - and sort of "telling" what I think Sony did to their color - I assume starting with the Fs5ii). So - cheers for diving into this. The results look great in the video. Totally agree with you on WB with the A7siii - and I also immediately wondered why all my other "cinema' cameras couldn't WB so easily and effeciently.
Thanks Mark, I hope it works well for you. The A7S3 is spot on with getting an accurate white and the FX9 is a total nightmare. I'm amazed two newish cameras from the same manufacturer could be so different! Sony were definitely late to the "filmic' colour science that RED, Canon, Panasonic and Blackmagic have been nailing for years... but at least they're getting it now!
Brilliant and very generous of you to share. Not everyone with your knowledge and experience would do this as a freebie (EOSHD I'm talking to you). One question please - I'm buying an A73S for my first documentary, and am a little apprehensive about mastering SLOG which needs to be ETTR overexposed etc. For an indoor interview with controlled, moody cinematic low key lighting, would it be okay to shoot in Cine 4? I'd love to shoot the whole thing in S Cinetone and be done with it but worry about grading flexibility later. Blue sky dreaming, if the doc gets sold and goes on Netflix - will they demand the whole thing is SLOGGED up to the eyeballs? Thanks Dominic
If you have the chance to do a proper grade afterwards or need more than 11 stops of dynamic range, then shooting LOG is always going to be more flexible, easier to match, and Netflix would probably prefer it! However, the whole ETTR thing is not so important with the latest Sony sensors (FX9, FX6 etc) which are much cleaner... especially the A7S3 because you can't turn the noise reduction off. The only reason you normally over expose is to clean the noise from the shadows because you are dropping the levels in post. Cinetone is really a profile which is intended to make it easy to use the pictures straight out of the camera without grading. A few of my clients only want to do a slight tweak at most! Thanks for the comment, really appreciated.
@@Scriptfella I've just become a fan of yours! - love what you're doing with your channel and really useful to watch your advice on negotiating. You're probably not surprised to learn how much applies to crews and hiring of DOPs etc. Should be a must watch for anyone in the industry and your honesty on the figures is refreshing. Also nice to hear you're just up the road... let me know when you get the next Netflix deal and need a DOP !!! 😂
@@extrashot thanks, v glad you're enjoying my vids and that they're relevant to filmmakers as well as screenwriters. I will absolutely keep you in mind for my planned doc - all the participants happen to live in your home town...Let's have a chat in Jan. Just sent you a linkedin connection request. D
Thanks so much for your dedicated hard work and sharing! Sony please listen. Quicktip: some cameras balance better if you deliberately defocus the image to have an even soft sample.
The version 2 is proving popular: ua-cam.com/video/gRYG5QKXRS4/v-deo.html I'm trying to arrange a big test of a few cameras together... hopefully soon.
The A7S3 is so clean (with noise reduction you can't turn off)... I'm not sure you need to ETTR even with Log. Obviously, this Cinetone profile is meant to be used straight out of camera, so best to expose as close to perfect as you can!
@@extrashot You can expose SLOG on the A73 normally???? - I'd LOVE that to be the case. Any chance you could made a video about that, comparing the results with ETTR and without. Big ask but that would be epic .I hate the whole ETTR thing....
@@Scriptfella Good idea... it's just about the noise in the shadows. You over expose a bit so you can lower the levels in post thereby lowering the noise as well. As long as you've not gone mad with the ISO, the shadows are amazingly clean on my A7S3, so no need to ETTR.
I haven't had a chance to take a close look... they are very close when the exposure and white is perfectly matched. If I was to pick a difference then I'd say the official Cinetone is very slightly more saturated. Thing is... my version was matching the FX9 which is slightly different again!
On the Sony a7r IV, I came really close to your a73 S-Cinetone settings by using Deep Creative Style: Saturation -1, Contrast -3, and Sharpness -5. Like you stated, extrashot, nailing white balance is key. I did the same with my wife’s a73. We go back and forth and can hardly tell the difference. The key to matching our cameras though is to set a custom white balance though, to even out camera differences and lens differences. Thanks for the great work and settings!
Hi, great video 🤙🏽 just sub… Wondering if I can match my Sony A7S3 with B cam Sony A7C especially scinetone as the 7C doesn’t have scinetone. Thank you for answer
You could try the settings from here ua-cam.com/video/gRYG5QKXRS4/v-deo.html on your A7C... some people have reported good results but I haven't had a chance to test it out personally.
Been waiting for this video, thank you so much. (I can think of a website or two, who sell these settings, so thank you for that). A subscription from me you already had, so I will share this video in all of the places I go. Cheers, have a great day!
@@extrashot hey Paul I looked for an email to send you a business question. Any chance you could share and then remove? I totally understand if not. Have a great day!
QQ I was trying your settings on a RX100 VII. The only choices for Gamma are Cine1 & 2. I’m going to give it a try with Cine2 but was wondering what your thoughts are on that setting. I just found your channel the other day and have been really enjoying your content. Thanks
Took canon and nikon jumping on the mirrorless train to get sony to finally address some of their color issues. It's kind of frustrating if you think about it. Sony apparently didn't really care about what people thought until they started seeing competition. It's been the Sony's cripple hammer. It's amazing how different my A7s3 looks next to my a7r3, especially considering the r is only a few years old.
True... I'm convinced it was their history in matching old TV cameras that made them so late to appreciate the new 'filmic' type looks that everyone else was getting into. Virtually everyone else has had lovely looking colour science for quite some time now.... RED, Canon, Panasonic, Blackmagic, have all nailed it before Sony realised the importance of making something usable straight out of the camera. At least they've caught up now !!!
I only got my A7s3 a week ago & just tried these settings, after shooting a custom white balance I’m amazed at how accurate the tones & colours are straight out of camera! Great job. Saved me a sh#t load of time in Resolve.Thankyou🥰🙏😀👍
Outstanding! Thank you for the clear tutorial and your diligence in creating these setting adjustments and your willingness to share so freely. Nicely done.
is it possible to match fx3 / fx6 slog 3? fx6 has more pleasing look - more cinematic the highlight roll off looks better and the skin tone colors and texture is more pleasing on fx6 and less sharp
On the cusp of Sony ACTUALLY giving us S-Cinetone on our beloved a7SIII’s, I just NOW find this video!!?? You sir, are a legend. Thank you for your hard work at this! I will rock this until I’m able to get the real S-Cinetone firmware update. Sub’d.
Excellent work. It clearly shows ur indepth knowledge and understanding of colour science. Super work and many thanks for share it with the community. Much Gratitude. Pls also do a review of Fuji XT4 and check its Eterna profile. May be u can guide some better setup for video on it as well. Keep up the good work. God bless u
You're welcome and thank you for the kind comment... much appreciated! I've heard good things about the Fuji's with that Eterna profile but never played with it myself. Maybe I should.
Amazing video! Appreciate the research and testing that went into these settings. Would love to see you adapt these for newly released Sony ZV-E10 - want to be able to use that nice budget cam to match footage on my FX3.
Great video and thank you for sharing your findings! I am definitely going to try this. In terms of exposure, do we have to overexpose like in slog3 or expose normally?
Thank you... no, you don't need to slightly overexpose with this profile as it's designed to be used straight out of camera. I'm not convinced we need to ETTR with SLog3 on the latest Sony cameras - FX9, FX6, A7S3. The reason we used to do it was to reduce the noise in the shadows. Because you were over exposing in camera, you could then bring the levels down in the edit which had the happy effect of bringing the noise down as well. The latest cameras are so clean, it's debatable whether we still need to do this at all?
Hi Paul, thank you for this detailed video. I am mid-level / beginnet, who fancied the 7siii and bought 😁❤️. Now I am learning along the way. And this was super helpful. Quick question - if we have to use this setting. Do I need to check for white balance every time ? Or does auto white balance do the trick ?
Hi Arindam, The auto white on the A7S3 does a great job but it could shift mid shot depending on the lighting conditions. Personally, I would rather the white setting be fixed correctly and let the colour of the light change naturally within each scene. ie. lock the white for each location. It'll also be much easier to match in the edit if it's not constantly changing as the camera moves. However, if someone is just using one camera on a single shot... like a vlog, then none of this applies and auto white can be really useful... in which case, just ignore everything I've said !!! Take care.
I have the a7III and the a7S3 and spent 2 days trying to match them in HLG. White balance is critical for matching. In any case I'm going to use your settings as it seems more forgiving. For bright sunlight or low light work, I tend to use SLOG3 as they grade really nicely.
You'll always get more dynamic range from Slog3... and possibly a better Cinetone with a good LUT. The whole S-Cinetone thing is designed for those times when you need usable pictures straight out of the camera. I have a few clients that don't want to be bothered with grading etc... so I need it for them. Hope the settings work well for you.
Thanks for the vid. seems a little green. can I suggest *not going down -1 on phase. also does it need +2 luminance depth on the green channel. last point. cine 2 is a nicer gamma but since u matched the knee and slope to that...I won't change it. (keeping my fav cine 2 and movie colours on a separate picture profile but the point then becomes... whats more important... matching fx9 ? or getting the best cinetone profile we can make ? have u tried cine 2 ? if so what would be the matching knee setting ? id love to have the 'perfect' profile when I'm not shooting log of course
These are very good points... my aim was to closely match the FX9 (it's my 'A' Camera) which is definitely more green than even Cinetone on the FX6. My settings purely came from the match I needed... it's definitely worth tweaking if it's just a nice usable profile you're after. Maybe I should do the same again with the FX6... I'll see if I can borrow one. Cine2 is a similar gamma but doesn't go over 100% into the superwhites, so it could be useful if you're concerned with clipping highlights. I only ended up with Cine4 again because the curves were closer to the FX9 in the mid tones... so not too much of a problem if you're careful with exposure. Since making this video... I keep hearing rumours that Sony are going to give us the Cinetone gamma curves on the A7S3... that would be the perfect solution because it's impossible to get a perfect match straight out of camera without it. Thanks for your input... have a great New Year.
@@extrashot thanks for the reply!! I put the settings on my camera . under pp4 to remind me its cine 4 lol. the only thing I'm not sure of now is the -10 black . I put mine at 0. (can crush in post) otherwise I've kept things the same cheers !
Quite a bit, S-Log 3 gamma has significantly more dynamic range as it should be. S-Cinetone is used for quick turnaround, like broadcasting. Has a pretty good image quality straight of camera at the price of some dynamic range loss, there’s always a trade off.
I was going to say it was half way between SLOG3 and REC709, but actually it's much higher than that. Officially S-Cinetone has a dynamic range of 460% which is lower than SLOG3 but a good balance for pictures which are usable straight out of the camera without grading but still have that 'filmic' quality to the dynamic range!
@@Kustoden Presumably, the DR is whatever Cine4 is in the A7S3? I can't see that listed anywhere but Cine1 is 460%. I think Cine4 has more contrast in the darker areas, which looks to be a closer match to the gamma of S-Cinetone.
This Is fantastic. my level of knowledge is basic by comparison but I have reduced saturation to -2 as I am finding the oranges and reds to be a bit overwhelming - can you see a problem with this?
@@extrashot I am matching to FX9 but as you say personal tweaks - on another note I’m having dreadful issues getting decent LUTs for FX9 - we’ve been using for almost a year now and the more we use it the more we realise it’s peculiarities - it maybe me but seems pretty reliant on perfect exposure to apply a LUT especially I difficult lighting conditions - much less robust that the FS5 - but probably me!!!
@@proactioncreative7726 It's not just you... I find the FX9 way more sensitive than my old F5, both in exposure and colour accuracy. It's like it's less tolerant of any of my errors !!! Don't get me wrong, I love the picture quality you can achieve, it's just harder work because you need to nail everything in camera to get the best look. It's like I was saying in the video about white balance. Any mis-reading and it's strange how quickly the pictures look rubbish! To answer your question about LUTs, I'm a big fan of what Alister Chapman has been doing with the Sony LUTs here: www.xdcam-user.com/camera-setup/pxw-fx9/. Just buy him a coffee if you find any of them useful.
I've had good reports that the A7iii (version 2) works okay on the A7C... it's here if you want to try: ua-cam.com/video/gRYG5QKXRS4/v-deo.html I think it's basically the same sensor/CFA as the A7iii... do let us know how you get on and if it works for you?
Great video!! Thank you so much for the work you put in on this!! I will be updating my settings on both the A7III and the A7SIII, which brings me to my question, do you feel like these two cameras will match each other based on these settings? Liked the video and subscribed as well. Thank you again.
Thanks Steve, In theory, you should get a close match using these settings on the A7S3 and the previous video numbers for the A73. However, it's much harder to get an exact match with the A73, simply because the video codec is 8bit 4:2:0... so not as much wiggle room before things fall apart!
Thank u so much I love this video thanks for giving an slog 3 replacement because slog 3 creates a lot of problems for me on my editing software (filmora) so thanks so much ur research and work has been so beneficial for so many people so I just wanna thank u
I love this, thank you so much for being transparent with the settings. I shot my last UA-cam Video with these settings and it was just a tweak in saturation and Done.
The previous A7iii video got pretty close with settings, but I think the A7Siii can get closer. It may have something to do with the colour filter array?
Thank you so much for this I really appreciate all of the effort you went to to make this. I have been an A6500 shooter for so long using Cine 4 and have just picked up the A7Siii so I’m going to give these settings a go today.. First time viewer here but instantly subscribed after watching this. Thank you and happy new year 😀
Glad it works for you. You shouldn't need to ETTR as it's designed to be used straight out of camera. The whole ETTR thing started with log and reducing noise in the shadows because log didn't originally have any noise reduction. The latest cameras need it much less!
@@extrashot sorry I should of asked it differently. What should I set my zebra level to if I want get the correct exposure for the person. Thanking you in advance. Indy.
@@i_clixx4700 I got used to shooting broadcast REC709 type shoots with 70% zebras just tickling the highlights on people's faces. With Cine4 I tend to reduce the zebras down to 60% and do the same. The most accurate way would be to set your zebras to 40% (±5) and expose to the zebras on an 18% grey card... that would be spot on.
I'd be interested in something similar for my little Z90...I shoot HLG3 mostly and conform to 709 in post, but for live work, that's a no-go. I have an up to date Camalign chart and Leader waveform/vectorscope, how would you suggest I go about trying to half-ass a usable S-Cinetone for the baby Sony? I have an a7sIII with S-Cinetone to match against. :)
Hi Paul... I don't know how much control you've got over the colour matrix and settings in the Z90... but basically I try to get the gamma right first (Cinetone uses super whites to 109%) and then match each individual colour on the charts using histogram and vector scope out of Resolve. Unfortunately, the original gamma curve looks unique to the Cinetone profile but you can get close with a few black and white level tweaks. Finally, I adjust them live with a half screen split on a monitor between the two cameras. I'm hoping to perfect the technique with some new and more accurate charts soon! Best place to start is the Cinetone white paper here: pro.sony/en_GN/product-resources/knowledge-panel/s-cinetone-white-paper
Hi Paul, Im in the same boat...trying to match Z90 with my FX3..First, WB, the Z90 is 300ºK upper..Second, I reduce saturation -1 on PP11 on the FX3. Then the same values as for the A73 (Who Extrashot explained in other video, thanks Mr ;) except> Saturation: -1 / Color Depth: Yellow color +2 / Detail: -5 on 4K, 0 on 1080. If you discover something better I would appreciate if you share it. Thanks!!
This is wonderful. I came here through many videos mentioning this very video. But does this work well with S-Log3 when using it in extreme contrast situations to mix it with native S-Cinetone that has been recently released?
Thank you for the kind comment Bo. I haven't seen a really good Cinetone LUT for S-Log3 yet? It should be perfectly possible to get a great match and S-Log3 will give you almost 2 extra stops of dynamic range. Sony did release an official LUT called s709 which should get you close to the Venice look, but in my experience it's slightly too green. A proper LUT would help if you need to match other S-Log3 cameras but S-Cinetone is really designed to be used instead of S-Log3, so you can use it straight out of camera.
@@extrashot Thank you, sir! I'm honored by your reply. I'm a beginner, and would 90% use S-Cinetone but would need that S-Log3 in high contrast situation as my main photography/videography is about fauna and flora and nature in general. If you ever make one yourself that works on DaVinci Resolve I'll happily downloaded it or buy it! Warm regards.
@@Bo_Hazem The extra 2 stops of S-Log3 will definitely help in higher contrast situations. I'll start work on a LUT as soon as I get a chance! Take care.
I'm so happy that I found this video and your channel! I plugged in your numbers into PP10 in my 7siii. I don't even know enough about these setting to call myself an amateur yet but I'm getting there and I love my brand new 7siii!! Thank you for this! SUBSCRIBED.
Thanks Paul. Super useful. I shall share!! P.S. Wanna buy my FX9? I think you need two. One as background prop and one to film you!
Brilliant, thanks Philip. Thanks also for the offer on the 2nd FX9... I'm just trying to work out what an old FX9 is now worth. What shall we say... £900 ?
@@extrashot I think you are a zero short there!
I'd love to see you two do a colaboration video.
So, Philip Bloom's selling his FX9. That's pretty encouraging for us poor bastards that have just bought one...
@@AljosaMilenkovic 😂... I recon you've still got the best camera around and I'm definitely keeping mine! Just ask Philip to get that long lens S35 shot in 4K !!!
So very generous.
Cheers Brian.
Hi. Why do people want to mimic FX9 colors? Is it because they are considered a standard-bearer, or because of a need to match two cameras?
It's because the FX9 offers us S-Cinetone colours, which are meant to mimic the Sony Venice, which looks wonderful and most of us can't afford !!! (it also helps when matching two Sony cameras with usable pictures that you know clients won't grade)
@@extrashot Thanks so much!
great settings thx ! 👍🏽
Cheers Sami 👍
Thanks for this. Do you have a video getting simile settings between he a7siii and FS7?
I don't... in this case it may be easier to shoot S-Log3 on the FS7 and burn-in one of Alister Chapman's great LUTs... www.xdcam-user.com/2018/08/new-venice-look-luts-version-3-includes-minus-green-luts-for-fs5-fs7-f55-a7s-a7r/
Looks good. But the a7s III is a little too warm/yellow. Especially noticable in the white car that drives through the shot at 04:20 Is there any way to correct for that?
I see what you mean on that shot but the whites look right on all the charts. I wonder if that was something to do with the white clipping or my poor exposure control when I did those shots!!! If you're having issues in normal use, then it could be the white balance? (or take a click off Y in the colour depth settings... be careful though because all the colours interact)
Or do you just eyeball the monitor , since that’ll be the almost final product ?
That's the idea... S-Cinetone is designed to be used straight out of camera so if you trust your monitor..... yes!
Wow, this gets the A7s III pretty damn close! Just did a few quick skin tone tests and this is the real deal. Show the channel some love guys, I can tell a lot of work went into this!
That's good to hear... glad it's working for you and thanks for the kind comment.
Lovely work - very under-appreciated channel..
Thank you... I have to agree ! 😂
Truly a gentleman and scholar, where do I send squid for a pint mate? You've opened the genie bottle here...
I literally punched in the settings and just threw the 7Siii into the deep end of the pool on a paid gig with no testing, the minute I turned on the monitors I knew it was gold...
I'm a truly grateful for your contribution to the community, frigging brilliant mate!
The image is lovely.... in the edit sutie now. Bravo!
Wow... straight out on a paid job... that's very brave! Your confidence is appreciated and I'm pleased it's working well for you. Thanks for letting me know.
Thank you so much for this!! My only question now is do you have any tips for nailing exposure with these settings? I've been using Paul Leeming's LUTs with SLog3 and the ETTR (expose to the right) method with my zebras set at Lower Limit 94+ which he has listed in his manual. I know in some video environments, people will set their zebras at around 70 and then expose until they get zebras on the subjects skin. Do you have any tricks like that for nailing exposure with these settings? Thanks so much! Subbed!
Hi Ben, I used to ETTR with my A73 and even the old F5 simply because you needed to overexpose a little so you could lower the pictures in post and therefore lower the noise in the shadows. I'm not convinced you need to do it with the latest Sony sensors because they are so clean, even in the shadows. As long as you don't go mad with the higher ISO's... The original Sony cameras wouldn't allow any noise reduction when using Slog, but now the A7S3 won't let you turn noise reduction off !!! I've been setting my zebras to 70% and just getting a tickle of zebras on the hot spots... which for me is trying to nail the exposure in camera! Best thing is do a few tests and see what you prefer... just keep an eye out for noise in the shadow areas.
@@extrashot This is great stuff, thank you so much!!
@@bentheremedia3011 Thank you... you've given me an idea for another video at some point!
Hey, great stuff you've got on your channel. Subscibed! I was wondering if you could do an A7S III version for slog3 s-cinetone and another your favourite profile using s log3, since we've got 10bit now :) Thanks.
Thanks for the sub... really appreciated. Not sure what you mean... is it the LUT you ned to put over Slog in the edit?
@@extrashot that video would get many views, at least mine, thanks for this one too, love your videos:)
I tested it directly with custom white balance With grey card. The skin tones are perfect.
Great to hear... thank you.
“Inundated with three or four requests...” 😂 - your channel is great! Keep up the great content. I hope you get a chance to play with a Canon c70 and give your thoughts... I just took delivery of mine and look forward to your sage insights. Also, Merry Christmas.
Thanks Scott... I'd love to play with the C70. I've heard good things so I need to borrow one asap. At least you get to play with it over Christmas... enjoy, and have a good one! 👍
@@extrashot Thanks Paul... the colours you have been able to get out of the FX9 and A7SIII (as demonstrated in this video) gave me pause, but the C70 looks the most user-friendly for someone making the jump from a GH5. Plus I do like the organic look some seem to have achieved with the DGO sensor and C-log combo. Can't wait to dive in.
@@scottgmaclean That sensor is a peach... especially for dynamic range!
I'm wondering if would be possible to derive a LUT, or list settings for one of the NLE's (Final Cut, Premier, Davinci, or Nitrate - but not all of them, of course) that would turn SLog3/S-cinetone3 into S-Cinetone? I understand this is contrary to the convenience of looking good right out of the box ....
Oh there definitely already is... s709 is the official Sony Venice LUT, which should get you in the ball park, but Alister Chapman has done some much better ones here: www.xdcam-user.com/picture-settings-and-luts/ or www.xdcam-user.com/2020/01/new-s709-lut-for-the-fx9-thats-less-green-than-the-sony-lut/
Just buy him a coffee if you find them useful.
@@extrashot , Wow, thanks much for the quick reply and good news.
Unlike the A7III which really struggled with these settings, this looks absolutely spot-on. The skin tones are a fantastic match and look brilliant. I can tell you spent a long tweaking it, my hat is off to you. Do you think it's the 10 bit 4:2:2 that is making this difference possible?
Thank you... it's really good to hear the skin tones are working well for you. I suspect you may be right about the 10bit 4:2:2... it definitely makes a visible difference to what we can do with the colours.
Loved the red stick splitter gag Paul! 😂 Having lived in Sweden for 30+ years, I am overly sensitive to good old British humour!🙏🏾
Glad someone got it 😂... thanks for the comment Eugene, have a great Christmas.
....and the same to you Paul! 🙏🏾
So what would be best for the white balance?
There's no specific value... they just have to be the same if you're matching two cameras (or as close and correct as possible).
Great video sir! Will I have to do a custom WB with these settings? Also does it matter what PP I use? Thanks and subscribed!
A custom white balance is essential if you are matching Cinetone with another camera, but not so vital if you're just after a good looking solo picture. You can use any PP as they are all the same. They're just memory positions for custom profiles... if you muck one up, there's a reset function at the bottom of each menu which puts it back into the default profile. I believe the official S-Cinetone from Sony will be in a new PP11 position! Thanks for the kind comment, it's appreciated.
Those greenish skin tones (and greenish everything else at times) are what has turned me off from Sony across the line for years. But colors I'm seeing from the A7SIII and FX6 have been much, much more appealing. I'm not really the market that Sony is going for with the FX9 but I'd still second the call for them to tweak the FX9 to be more like the FX6 and A7SIII color-wise. That said, as a Sony-semi-skeptic, what you're showing from the FX9 and A7SIII looks great, and they're an excellent match.
Thanks Thomas, I do agree that standard Sony colours have been a bit 'off' for years. It's like they got stuck with the 1980's REC709 from TV studio cameras. But to be fair, things started to change with the Venice and now we're seeing the effects of that 'look' filter down throughout the range. Now the A7S3/FX6 colours are right up there with the best from anyone. With everyone shooting Log or Raw it shouldn't matter so much, but colours out of the box really do help sell cameras. I'm just surprised it's taken them this long!
Very good thanks ... are you related to Phillip Bloom !
Stop it.... I get that a lot !!!
@@extrashot seem to remember that PB mentioned you in one of his videos 😀
@@AgentBlackCrow We've known each other for many years! 👍
Thank you for doing this and sharing so kindly. I will try this out very soon.
I've had my A7siii for about 3 weeks, and been trying out different looks / profiles - but have mostly shot S Log 3 Cine thus far. (it's interesting to compare the same scene from that camera to my FS7 - and sort of "telling" what I think Sony did to their color - I assume starting with the Fs5ii).
So - cheers for diving into this. The results look great in the video. Totally agree with you on WB with the A7siii - and I also immediately wondered why all my other "cinema' cameras couldn't WB so easily and effeciently.
Thanks Mark, I hope it works well for you. The A7S3 is spot on with getting an accurate white and the FX9 is a total nightmare. I'm amazed two newish cameras from the same manufacturer could be so different! Sony were definitely late to the "filmic' colour science that RED, Canon, Panasonic and Blackmagic have been nailing for years... but at least they're getting it now!
This post has blown up on all A7s3 forums, you'll need a follow up video answering queries ;)
Always happy to get queries and suggestions!
Brilliant and very generous of you to share. Not everyone with your knowledge and experience would do this as a freebie (EOSHD I'm talking to you). One question please - I'm buying an A73S for my first documentary, and am a little apprehensive about mastering SLOG which needs to be ETTR overexposed etc. For an indoor interview with controlled, moody cinematic low key lighting, would it be okay to shoot in Cine 4? I'd love to shoot the whole thing in S Cinetone and be done with it but worry about grading flexibility later. Blue sky dreaming, if the doc gets sold and goes on Netflix - will they demand the whole thing is SLOGGED up to the eyeballs? Thanks Dominic
If you have the chance to do a proper grade afterwards or need more than 11 stops of dynamic range, then shooting LOG is always going to be more flexible, easier to match, and Netflix would probably prefer it! However, the whole ETTR thing is not so important with the latest Sony sensors (FX9, FX6 etc) which are much cleaner... especially the A7S3 because you can't turn the noise reduction off. The only reason you normally over expose is to clean the noise from the shadows because you are dropping the levels in post. Cinetone is really a profile which is intended to make it easy to use the pictures straight out of the camera without grading. A few of my clients only want to do a slight tweak at most! Thanks for the comment, really appreciated.
@@extrashot Thanks for the clarification. I'm a huge fan of your work - just up the road in Winchester.
@@Scriptfella I've just become a fan of yours! - love what you're doing with your channel and really useful to watch your advice on negotiating. You're probably not surprised to learn how much applies to crews and hiring of DOPs etc. Should be a must watch for anyone in the industry and your honesty on the figures is refreshing. Also nice to hear you're just up the road... let me know when you get the next Netflix deal and need a DOP !!! 😂
@@extrashot thanks, v glad you're enjoying my vids and that they're relevant to filmmakers as well as screenwriters. I will absolutely keep you in mind for my planned doc - all the participants happen to live in your home town...Let's have a chat in Jan. Just sent you a linkedin connection request. D
Thanks so much for your dedicated hard work and sharing! Sony please listen. Quicktip: some cameras balance better if you deliberately defocus the image to have an even soft sample.
Any update on the "S-Cinetone" hack for Sony A7 III or prior models compared to the currently released S-Cinetone on A7S III?
The version 2 is proving popular: ua-cam.com/video/gRYG5QKXRS4/v-deo.html
I'm trying to arrange a big test of a few cameras together... hopefully soon.
Thanks I used your exact settings and made this test. ua-cam.com/video/NniltiPt6QY/v-deo.html Thanks for figuring this out!
Cool!!
Just taken a look and it looks good... cool shots too !!!
Great video. If I do this setup on my a6400 would it work?
It'll work but might not be an exact match... however, there are reports from some that have tried on the A6400 and A6600 and they like the look?
@@extrashot Thank you!! I'll give a try.
Amazing work! Came here from Harv's channel. I really like the result definitely going to use it.
Thanks Bello... I didn't realise he'd done something about it... that's kind, cheers.
Nice work! How would You expose ? Zebra highlight values 100% ? ETTR ?
The A7S3 is so clean (with noise reduction you can't turn off)... I'm not sure you need to ETTR even with Log. Obviously, this Cinetone profile is meant to be used straight out of camera, so best to expose as close to perfect as you can!
@@extrashot You can expose SLOG on the A73 normally???? - I'd LOVE that to be the case. Any chance you could made a video about that, comparing the results with ETTR and without. Big ask but that would be epic .I hate the whole ETTR thing....
@@Scriptfella Good idea... it's just about the noise in the shadows. You over expose a bit so you can lower the levels in post thereby lowering the noise as well. As long as you've not gone mad with the ISO, the shadows are amazingly clean on my A7S3, so no need to ETTR.
@@extrashot This is great news for me, thanks.
Amazing. What would be the zebra setting for Cine 4 would you say? 100% like Cine 2? 109% like Cine 1?
Cine 4 is more contrasty than Cine 2, I wouldn’t go over 100%. Greetings
My previous research on this topic led me to Alister Chapman’s view on Cinegammas and that you’d UNDERexpose by 1-1.5 stops.
Hey there! With the release of s cinetone pp11 did you keep these same color settings or adjust them? I would be very curious!
I haven't had a chance to take a close look... they are very close when the exposure and white is perfectly matched. If I was to pick a difference then I'd say the official Cinetone is very slightly more saturated. Thing is... my version was matching the FX9 which is slightly different again!
Well done, next episode alexa look on A7S III ! :p
😂Good idea.... actually, I'm starting to like the Venice s709 look almost as much!
Shoot SLog 3 and use the fantastic Phantom LUTs to get close to the Alexa look
On the Sony a7r IV, I came really close to your a73 S-Cinetone settings by using Deep Creative Style: Saturation -1, Contrast -3, and Sharpness -5. Like you stated, extrashot, nailing white balance is key. I did the same with my wife’s a73. We go back and forth and can hardly tell the difference. The key to matching our cameras though is to set a custom white balance though, to even out camera differences and lens differences.
Thanks for the great work and settings!
That's good to know... when I get to borrow an A7R IV, I'll try those... thank you.
Just set my A7R IV up with these settings and I have the actual S Cinetone profile on my A7S III with the firmware update
this is still very helpful for A7C users, as those didn't get the s-cinetone upgrade back then!
Hi, great video 🤙🏽 just sub…
Wondering if I can match my Sony A7S3 with B cam Sony A7C especially scinetone as the 7C doesn’t have scinetone. Thank you for answer
You could try the settings from here ua-cam.com/video/gRYG5QKXRS4/v-deo.html on your A7C... some people have reported good results but I haven't had a chance to test it out personally.
Wow... that subscribe dialog was killer...
I had to hit the subs button instantly... do you mind if I copy your dialog for my channel 😀
No problem... and thanks for the sub, appreciated!
Been waiting for this video, thank you so much. (I can think of a website or two, who sell these settings, so thank you for that). A subscription from me you already had, so I will share this video in all of the places I go. Cheers, have a great day!
Thank you for sharing, and the kind comment. It's appreciated!
@@extrashot hey Paul I looked for an email to send you a business question. Any chance you could share and then remove? I totally understand if not.
Have a great day!
@@Hangs4Fun Hi Chris, No worries... it's on my about page... that's the best one to use.
Thank you SO MUCH ! The colors are amazing.
Thank you for the feedback... much appreciated.
QQ I was trying your settings on a RX100 VII. The only choices for Gamma are Cine1 & 2. I’m going to give it a try with Cine2 but was wondering what your thoughts are on that setting. I just found your channel the other day and have been really enjoying your content. Thanks
I'm gonna try these settings on my A7C and try to match it to my A6400 (using A7iii part 2 settings). We'll see!
Took canon and nikon jumping on the mirrorless train to get sony to finally address some of their color issues. It's kind of frustrating if you think about it. Sony apparently didn't really care about what people thought until they started seeing competition. It's been the Sony's cripple hammer. It's amazing how different my A7s3 looks next to my a7r3, especially considering the r is only a few years old.
True... I'm convinced it was their history in matching old TV cameras that made them so late to appreciate the new 'filmic' type looks that everyone else was getting into. Virtually everyone else has had lovely looking colour science for quite some time now.... RED, Canon, Panasonic, Blackmagic, have all nailed it before Sony realised the importance of making something usable straight out of the camera. At least they've caught up now !!!
Can you please make S-Cinetone settings for Sony a7c. Thanks 👍
did you find a good S-cinetone for A7C?
This is the best cine video settings I’ve seen for A7siii. Thank you.
Thats great to hear... thank you so much for the comment. Have a great holiday!
I only got my A7s3 a week ago & just tried these settings, after shooting a custom white balance I’m amazed at how accurate the tones & colours are straight out of camera! Great job. Saved me a sh#t load of time in Resolve.Thankyou🥰🙏😀👍
Brilliant, glad it's working well for you and thanks for letting us know! 👍
Outstanding! Thank you for the clear tutorial and your diligence in creating these setting adjustments and your willingness to share so freely. Nicely done.
is it possible to match fx3 / fx6 slog 3? fx6 has more pleasing look - more cinematic the highlight roll off looks better and the skin tone colors and texture is more pleasing on fx6 and less sharp
You'd think they'd look almost identical... same A7S3 sensor so Sony must be tweaking the setup?
UPDATE IS NOW AVAILABLE!!
Yeap! He did it! He made sony be like: Fuck it!!! lets give it to them! lol
On the cusp of Sony ACTUALLY giving us S-Cinetone on our beloved a7SIII’s, I just NOW find this video!!?? You sir, are a legend. Thank you for your hard work at this! I will rock this until I’m able to get the real S-Cinetone firmware update. Sub’d.
Thank you Two One Se7en... very kind, and your sort of feedback makes it all worthwhile - cheers!
@@guerrerosdigitales Version 2 of the firmware very soon....
@@extrashot 25th Feb. Less than 24 hours now...
@@MrVh78 Happy days!
Excellent work. It clearly shows ur indepth knowledge and understanding of colour science. Super work and many thanks for share it with the community. Much Gratitude. Pls also do a review of Fuji XT4 and check its Eterna profile. May be u can guide some better setup for video on it as well. Keep up the good work. God bless u
You're welcome and thank you for the kind comment... much appreciated!
I've heard good things about the Fuji's with that Eterna profile but never played with it myself. Maybe I should.
0:00 Intro
3:52 Sample
5:18 Setting
You did it man! You made Sony be like: Fuck it !!! lets just give it to them! lol
Doubt it was anything to do with me.... but I can dream!
Nice work, i appreciate the effort
... and I appreciate the comment. Thank you!
Amazing video! Appreciate the research and testing that went into these settings. Would love to see you adapt these for newly released Sony ZV-E10 - want to be able to use that nice budget cam to match footage on my FX3.
Your settings makes the A7Sii look soooo close to that beautiful Cinetone-S! Thank you so much! Very appreciated!
You're welcome... hope it works well for you.
the blue look darker on Fx6 its this a white balance or exposer difference with these cameras, or should the a7s3 drop blue from 0 to -1?
Thank you for doing this
You're welcome... and I hope it works well for you.
Between this, S-Log3, and the Leeming LUT HLG settings, I think I'm digging this the most! Thanks again for your hard work and research!
Oh that's great to hear. I'm pleased it's working well for you and thank you for the comment. Much appreciated!
Great video and thank you for sharing your findings! I am definitely going to try this. In terms of exposure, do we have to overexpose like in slog3 or expose normally?
Thank you... no, you don't need to slightly overexpose with this profile as it's designed to be used straight out of camera. I'm not convinced we need to ETTR with SLog3 on the latest Sony cameras - FX9, FX6, A7S3. The reason we used to do it was to reduce the noise in the shadows. Because you were over exposing in camera, you could then bring the levels down in the edit which had the happy effect of bringing the noise down as well. The latest cameras are so clean, it's debatable whether we still need to do this at all?
Great advises! thank you. I would like to ask if is there a way to match colors between the 7S2 and 7S3. I will appreciate your time.
Thank you... and yes, an A7S2 profile would be useful for many... looks like I've got my work cut out!
The day has arrived my old man. ❤️
Old Man... how dare you !!!??? (but seriously, you're right, it should be out tomorrow - happy days) 😂
@@extrashot hehe 😂
just amazing I really appreciate your efforts
Thanks Doug, very kind!
Hi Paul, thank you for this detailed video. I am mid-level / beginnet, who fancied the 7siii and bought 😁❤️. Now I am learning along the way. And this was super helpful. Quick question - if we have to use this setting. Do I need to check for white balance every time ? Or does auto white balance do the trick ?
Hi Arindam, The auto white on the A7S3 does a great job but it could shift mid shot depending on the lighting conditions. Personally, I would rather the white setting be fixed correctly and let the colour of the light change naturally within each scene. ie. lock the white for each location. It'll also be much easier to match in the edit if it's not constantly changing as the camera moves. However, if someone is just using one camera on a single shot... like a vlog, then none of this applies and auto white can be really useful... in which case, just ignore everything I've said !!! Take care.
I have the a7III and the a7S3 and spent 2 days trying to match them in HLG. White balance is critical for matching. In any case I'm going to use your settings as it seems more forgiving. For bright sunlight or low light work, I tend to use SLOG3 as they grade really nicely.
You'll always get more dynamic range from Slog3... and possibly a better Cinetone with a good LUT. The whole S-Cinetone thing is designed for those times when you need usable pictures straight out of the camera. I have a few clients that don't want to be bothered with grading etc... so I need it for them. Hope the settings work well for you.
Thanks for the vid.
seems a little green.
can I suggest *not going down -1 on phase.
also does it need +2 luminance depth on the green channel.
last point.
cine 2 is a nicer gamma but since u matched the knee and slope to that...I won't change it.
(keeping my fav cine 2 and movie colours on a separate picture profile
but the point then becomes... whats more important... matching fx9 ?
or getting the best cinetone profile we can make ?
have u tried cine 2 ?
if so what would be the matching knee setting ?
id love to have the 'perfect' profile when I'm not shooting log of course
These are very good points... my aim was to closely match the FX9 (it's my 'A' Camera) which is definitely more green than even Cinetone on the FX6. My settings purely came from the match I needed... it's definitely worth tweaking if it's just a nice usable profile you're after. Maybe I should do the same again with the FX6... I'll see if I can borrow one. Cine2 is a similar gamma but doesn't go over 100% into the superwhites, so it could be useful if you're concerned with clipping highlights. I only ended up with Cine4 again because the curves were closer to the FX9 in the mid tones... so not too much of a problem if you're careful with exposure. Since making this video... I keep hearing rumours that Sony are going to give us the Cinetone gamma curves on the A7S3... that would be the perfect solution because it's impossible to get a perfect match straight out of camera without it. Thanks for your input... have a great New Year.
@@extrashot thanks for the reply!!
I put the settings on my camera .
under pp4 to remind me its cine 4 lol.
the only thing I'm not sure of now is the -10 black .
I put mine at 0. (can crush in post)
otherwise I've kept things the same
cheers !
@@minioscars1541 Nice one!
@@extrashot would love to see a match with the fx6!
Impressive work!, Do you know how these settings affect the dynamic range of the A7SIII - compared to regular SLOG3-shooting?
Quite a bit, S-Log 3 gamma has significantly more dynamic range as it should be. S-Cinetone is used for quick turnaround, like broadcasting. Has a pretty good image quality straight of camera at the price of some dynamic range loss, there’s always a trade off.
I was going to say it was half way between SLOG3 and REC709, but actually it's much higher than that. Officially S-Cinetone has a dynamic range of 460% which is lower than SLOG3 but a good balance for pictures which are usable straight out of the camera without grading but still have that 'filmic' quality to the dynamic range!
@@extrashot Interesting! Have you done any testing to see if these 460% applies to your a7siii s-cinetone settings?
@@Kustoden Presumably, the DR is whatever Cine4 is in the A7S3? I can't see that listed anywhere but Cine1 is 460%. I think Cine4 has more contrast in the darker areas, which looks to be a closer match to the gamma of S-Cinetone.
@@extrashot my understanding with Cine4 was that it’s approx 9-10 stops of DR from previous Sony cams.
I just like your channel ...not owning any of these cameras yet ....hopefully fx6 soon.
Thank you... and for real cine cameras, the FX6 is pretty much unbeatable value. Looks amazing and arguably better than the A7Siii ?
THANK YOU! Great settings. Using footage straight out of camera.
That's good to hear... thanks for letting us know. Take care.
This Is fantastic. my level of knowledge is basic by comparison but I have reduced saturation to -2 as I am finding the oranges and reds to be a bit overwhelming - can you see a problem with this?
Thank you... and no problem at all, you can tweak anything to taste, especially if you're not matching another camera. Have a good New Year!
@@extrashot I am matching to FX9 but as you say personal tweaks - on another note I’m having dreadful issues getting decent LUTs for FX9 - we’ve been using for almost a year now and the more we use it the more we realise it’s peculiarities - it maybe me but seems pretty reliant on perfect exposure to apply a LUT especially I difficult lighting conditions - much less robust that the FS5 - but probably me!!!
@@proactioncreative7726 It's not just you... I find the FX9 way more sensitive than my old F5, both in exposure and colour accuracy. It's like it's less tolerant of any of my errors !!! Don't get me wrong, I love the picture quality you can achieve, it's just harder work because you need to nail everything in camera to get the best look. It's like I was saying in the video about white balance. Any mis-reading and it's strange how quickly the pictures look rubbish! To answer your question about LUTs, I'm a big fan of what Alister Chapman has been doing with the Sony LUTs here: www.xdcam-user.com/camera-setup/pxw-fx9/. Just buy him a coffee if you find any of them useful.
Thank you for your very great tips! Is it working on A7C?
I've had good reports that the A7iii (version 2) works okay on the A7C... it's here if you want to try: ua-cam.com/video/gRYG5QKXRS4/v-deo.html
I think it's basically the same sensor/CFA as the A7iii... do let us know how you get on and if it works for you?
Great video!! Thank you so much for the work you put in on this!! I will be updating my settings on both the A7III and the A7SIII, which brings me to my question, do you feel like these two cameras will match each other based on these settings? Liked the video and subscribed as well. Thank you again.
Thanks Steve, In theory, you should get a close match using these settings on the A7S3 and the previous video numbers for the A73. However, it's much harder to get an exact match with the A73, simply because the video codec is 8bit 4:2:0... so not as much wiggle room before things fall apart!
This is superb! Thanks very much - I’ve been spruiking your channel everywhere. Hopefully you’ve been getting a subscriber / viewer bump 😀
Brilliant Shane... thank you, it's appreciated!
thank you, very good your tutorial
Great informative content 👏🏽👏🏽 thanks subscribed + liked + will share it
Thank you.. it's appreciated!
Thank you so much for this. This was my job for on my holiday next week. Now I can focus on margaritas instead! Love your work,
Thank you... enjoy the holiday!
Большой привет из России! У меня Sony ZV-1, в ней нет гаммы Cine4, только Cine2. С ней будет так же работать или нужны какие-то корректировки?
Thank u so much I love this video thanks for giving an slog 3 replacement because slog 3 creates a lot of problems for me on my editing software (filmora) so thanks so much ur research and work has been so beneficial for so many people so I just wanna thank u
You are very welcome... and thank you for the kind comment, it's appreciated!
Really cool video and tip! Subscribed ! Thanks for sharing this :)
Thanks for the sub, and the comment, really appreciated.
Great work, thanks for sharing. SUBBED.
Thanks Marc and the sub is appreciated!
3 or 4 requests haha
I love this, thank you so much for being transparent with the settings. I shot my last UA-cam Video with these settings and it was just a tweak in saturation and Done.
That's good to hear... thanks for letting us know, appreciated!
I wish i knew this before the a7siii update 😭..subbed 🙌
Still, you've found it now... and the sub is really appreciated, thank you!
The a7iii does have an option for pro
I wonder if itll look similar to the fx9 with these setttings, thanks!
Yeah, I wonder if it would look the same even though they are different sensors.
The previous A7iii video got pretty close with settings, but I think the A7Siii can get closer. It may have something to do with the colour filter array?
CONGRATS!! your trick worked! Sony is updating the A7S3 with S-cinetone on a firmware update anytime now!!! Thanks
Really !!! I haven't seen that... do you have a link?
Yeah... I just update but can't find the S cinetone in there...What is it called.?
@@extrashot not yet
@@osaspro It will be PP11 on firmware v2.0
@@guerrerosdigitales I'm told It'll be out tomorrow (25th Feb)... part of firmware version 2. It's called ILCE7SM3v200
Thank you so much for this I really appreciate all of the effort you went to to make this. I have been an A6500 shooter for so long using Cine 4 and have just picked up the A7Siii so I’m going to give these settings a go today.. First time viewer here but instantly subscribed after watching this. Thank you and happy new year 😀
Cheers Alex, and thank you for the sub, it's really appreciated. Happy New Year to you too!
@@extrashot quick update, I used these settings and found it much easier to work with than SLOG 3, so thank you soo so much!!
@@whatalexdid That's great, thanks for letting us know!
This looks great, can’t wait to test it out. Thank you!!
Cheers Eric, let us know how it works for you.
This is gold! Couldn’t hit that sub button fast enough. Thank you.
Thank you for the comment and the sub... much appreciated!
You Sir are knight!!! You have rode in to save the day!
Great video, thanks for sharing. I’ll try your settings.
Thank you!
This is great!!!
Thank you!
hi, love the look and thank for setting, how would you expose for this ETTR setting.
Glad it works for you. You shouldn't need to ETTR as it's designed to be used straight out of camera. The whole ETTR thing started with log and reducing noise in the shadows because log didn't originally have any noise reduction. The latest cameras need it much less!
@@extrashot sorry I should of asked it differently. What should I set my zebra level to if I want get the correct exposure for the person. Thanking you in advance. Indy.
@@i_clixx4700 I got used to shooting broadcast REC709 type shoots with 70% zebras just tickling the highlights on people's faces. With Cine4 I tend to reduce the zebras down to 60% and do the same. The most accurate way would be to set your zebras to 40% (±5) and expose to the zebras on an 18% grey card... that would be spot on.
Hi. @@extrashot once again thank you very much for your setting and you help
Regards
Indy
Fantastic! Thanks! Have you any experience with these settings on a A7R3?
Not yet!
In the meanwhile there is an actual S-Cinetone picture profile for the A7SIII, so is it still better to use these settings?
Now Sony have given us the genuine version it'll definitely be better!
@@extrashot Thanks!
I'd be interested in something similar for my little Z90...I shoot HLG3 mostly and conform to 709 in post, but for live work, that's a no-go. I have an up to date Camalign chart and Leader waveform/vectorscope, how would you suggest I go about trying to half-ass a usable S-Cinetone for the baby Sony? I have an a7sIII with S-Cinetone to match against. :)
Hi Paul... I don't know how much control you've got over the colour matrix and settings in the Z90... but basically I try to get the gamma right first (Cinetone uses super whites to 109%) and then match each individual colour on the charts using histogram and vector scope out of Resolve. Unfortunately, the original gamma curve looks unique to the Cinetone profile but you can get close with a few black and white level tweaks. Finally, I adjust them live with a half screen split on a monitor between the two cameras. I'm hoping to perfect the technique with some new and more accurate charts soon! Best place to start is the Cinetone white paper here: pro.sony/en_GN/product-resources/knowledge-panel/s-cinetone-white-paper
Hi Paul, Im in the same boat...trying to match Z90 with my FX3..First, WB, the Z90 is 300ºK upper..Second, I reduce saturation -1 on PP11 on the FX3. Then the same values as for the A73 (Who Extrashot explained in other video, thanks Mr ;) except> Saturation: -1 / Color Depth: Yellow color +2 / Detail: -5 on 4K, 0 on 1080. If you discover something better I would appreciate if you share it. Thanks!!
this is excellent. instant sub. thank you.
Thank you... it's appreciated.
I would have to check it out on my 5k monitor, but in my iPhone 11 it looks perfect 👌. Thanks 🙏
Thank you for the kind comment.
@@extrashot Thank you for your great and detailed video!
This is wonderful. I came here through many videos mentioning this very video. But does this work well with S-Log3 when using it in extreme contrast situations to mix it with native S-Cinetone that has been recently released?
Thank you for the kind comment Bo. I haven't seen a really good Cinetone LUT for S-Log3 yet? It should be perfectly possible to get a great match and S-Log3 will give you almost 2 extra stops of dynamic range. Sony did release an official LUT called s709 which should get you close to the Venice look, but in my experience it's slightly too green. A proper LUT would help if you need to match other S-Log3 cameras but S-Cinetone is really designed to be used instead of S-Log3, so you can use it straight out of camera.
@@extrashot Thank you, sir! I'm honored by your reply. I'm a beginner, and would 90% use S-Cinetone but would need that S-Log3 in high contrast situation as my main photography/videography is about fauna and flora and nature in general. If you ever make one yourself that works on DaVinci Resolve I'll happily downloaded it or buy it!
Warm regards.
@@Bo_Hazem The extra 2 stops of S-Log3 will definitely help in higher contrast situations. I'll start work on a LUT as soon as I get a chance! Take care.
@@extrashot Can't wait! Thanks a lot.🤩🙏
I'm so happy that I found this video and your channel! I plugged in your numbers into PP10 in my 7siii. I don't even know enough about these setting to call myself an amateur yet but I'm getting there and I love my brand new 7siii!! Thank you for this! SUBSCRIBED.
Thank you for your comment... it's great to hear and well appreciated!
These parameters are available on the A6500 as well. Didn't try them yet though.
What... you've tapped these numbers into an A6500 or it's available elsewhere? Love to know how you get on.