Important note: I forgot to mention this in the video, but in order for the false colors to act correctly, you would need to use them on ISO800 and above as with the ones below 800 the clipping levels for highlights change. Something to keep in mind.
The colors for both were based off of the False Color chart for the Sony Venice (however that one has a few extra colors that mine don't, but my LUTs still have the main ones you need).
@@georgekamenov_ Thanks for your effort! Those LUTs seem to work well, but I have a one small suggestion regarding them if you don't mind: I would like to see a version without the orange color on the areas near the clipping point. In some situations I had slight difficulties judging whether a certain area of a scene was actually clipped or not. I'm not sure if this is just my personal issue or something that others might notice too, but I just wanted to share my experiences so far. I really appreciate your work regardless!
The thing is, there's no IRE specifically mapped to orange. What you're seeing is just the transition between the yellow which is just under the white clip, and red, which is actual white clipping. Only way I can think of doing things to get rid of that orange you're seeing is if I got rid of the yellow and only leave red for fully clipped areas, but for me personally, having that yellow to be able to push exposure as high as I can while still not losing information, but having an indication I'm about to, is more useful. Hope I was able to word that in an understandable way haha
@@georgekamenov_ Oh, I see. Maybe I'm just so used to using zebras as an indicator for clipped highlights so that's why a more graduated exposure tool might feel a bit challenging to master. :)
I just downloaded your two luts, and they’re absolutely amazing. I love how when I turn it on it the purple amplifies the grain so you can see how noisy the underexposed areas will be. It’s amazing.
As you've mentioned there are several scenarios where having false color for both log and rec709 will be helpful. Can you give me more examples for better understanding this?
I am planning on making a video talking about this topic soon. But the short version is, that if you use the Rec709 false colors, you're essentially being "extra safe" when exposing, because the LUT will show you what's clipping a lot earlier. This can be especially important when you're trying to keep your shadows clean. I'll do my best to focus on making a video explaining this. You can stick around for that!
will this work on the sony a6500? i tried following your menu settings but i can't find LUTs. maybe my camera is too old :( thanks for the info though! it was very informative
Don't think you can import LUTs on that camera, so no. These are meant for the newer cameras that allow you to import LUTs. You could technically put these on an external monitor, but in general I wouldn't recommend you use s-log3 on the a6500 as it's only 8 bit and doesn't hold up well. For older Sony cameras s-log2 is the better option.
@@georgekamenov_ so grateful for your explanation. I will continue to use slog2 then, i'm very new so those likely aren't even my most important issues as everything is like new to me. Cheers!
@@itsAvient If there's anything else you're interested in learning, feel free to drop a comment with what you're finding issues with. Always looking for ideas about topics I should cover in future videos :)
Thanks, appreciate the support! These were based on the chart for the Sony Venice false colors so you can use that one as a reference. Though mine don't have absolutely all of the same colors as I didn't really personally need them when making these. But it still has the main ones for underexposed or overexposed areas, pre-clipping and skin tones.
This is great, thank you! You mentioned doing a follow-up video with real world examples and practical applications. Did I miss this video, or is it still in the pipeline?
Thanks for creating this LUT! im wondering if there's a false color chart that we can reference to? i tried using it, but i realised i couldnt see any green spot while using this LUT at varying exposure. notably, i see grey, purple, red, yellow, interestingy, there's no green. :)
Hi! Chrome won't let me enter the link because it says it's malicious. Could you create a new link that allows it to be downloaded or guide me how I can download it in Chrome.
IMO false color as a very useful exposure tool, LUT-workflow and classic shutter angle are basic features of a cinema camera - especially in 2024. It’s so strange that they weren’t included in FX3 and FX30 from the start
I believe so. As long as you use it on the first base ISO or above it should display correctly. But it shouldn't be used at ISOs lower than the first base as then the whites clip at different levels and you don't get access to the full dynamic range of the sensor.
Thanks for your efforts. I gave it a try with mix results. My main complaint is it's too hard to discern ire of skin tones on my face 50-80 look too similar. I found using zebras set to 60 for skin tone highlights or white card exposed a little under 90 to be more accurate. Could be I'm not a fan of BM false colors or there is something about my setup.... The other complaint is with Sony. I'm guessing they held false color back as away to differentiate between more expensive models or they made the assumption that professionals would always us a monitor for false color. Come to think of it no waveform or shutter angle. Strange considering it's a cinema camera.
These are actually based on the false color chart used in the Sony Venice. Not 1:1 because I chose to not have a few of the colours in my LUTs but in general, this is what they look like on a Venice as well. I agree that certain ire values can look very similar and I might look into trying to make a second version down the line, but for what I need them for right now, these work fairly well for me 😁 But I do agree with you that Sony choosing to not include certain features in a "cinema" line camera is odd 😅
@@imsuvin2024 The LUTs I've made work on their own. So it depends on how you prefer monitoring false color. If you want to be absolutely safe that nothing is clipping, the 709FC LUT will be the better option.
I believe so. As long as you're shooting at your camera's base or higher they should work correctly. You might have issues shooting at ISOs lower than the first base because the sensor clips whites at different levels at that point.
@@raulddc2803 Fair enough but it's not really as convenient to always have to pull your phone out to use false colours when there's a way to have the feature built into the camera itself 😅
If some of you still dont know how to make it work, prolly its bacause of this setting MENU → Setup (toolbox icon) → [Display Option] → [Display LUT] → to on
Yes, it has. Other people have made these types of LUTs, but like I said, the ones I've seen either monitor FC only on LOG or only on Rec709. Which is why I set up 2 of them, because there are situations where having both is better than only having one of them. Plus these are pretty much free, so there's that.
Important note: I forgot to mention this in the video, but in order for the false colors to act correctly, you would need to use them on ISO800 and above as with the ones below 800 the clipping levels for highlights change. Something to keep in mind.
Thanks! These are great. Can you share a chart of what each color represents (on the log FC and Rec709 FC) and the IRE range?
The colors for both were based off of the False Color chart for the Sony Venice (however that one has a few extra colors that mine don't, but my LUTs still have the main ones you need).
@@georgekamenov_ Thanks for your effort! Those LUTs seem to work well, but I have a one small suggestion regarding them if you don't mind: I would like to see a version without the orange color on the areas near the clipping point. In some situations I had slight difficulties judging whether a certain area of a scene was actually clipped or not. I'm not sure if this is just my personal issue or something that others might notice too, but I just wanted to share my experiences so far. I really appreciate your work regardless!
The thing is, there's no IRE specifically mapped to orange. What you're seeing is just the transition between the yellow which is just under the white clip, and red, which is actual white clipping. Only way I can think of doing things to get rid of that orange you're seeing is if I got rid of the yellow and only leave red for fully clipped areas, but for me personally, having that yellow to be able to push exposure as high as I can while still not losing information, but having an indication I'm about to, is more useful. Hope I was able to word that in an understandable way haha
@@georgekamenov_ Oh, I see. Maybe I'm just so used to using zebras as an indicator for clipped highlights so that's why a more graduated exposure tool might feel a bit challenging to master. :)
I just downloaded your two luts, and they’re absolutely amazing.
I love how when I turn it on it the purple amplifies the grain so you can see how noisy the underexposed areas will be. It’s amazing.
@@metalinyourhead3604 I'm very happy to hear you're finding them useful!
Been trying out this for a week. Now i cant live without this. Thanks
Glad to hear it's been helping you out!
Subscribed, thank you for making and providing these man.
As you've mentioned there are several scenarios where having false color for both log and rec709 will be helpful. Can you give me more examples for better understanding this?
I am planning on making a video talking about this topic soon. But the short version is, that if you use the Rec709 false colors, you're essentially being "extra safe" when exposing, because the LUT will show you what's clipping a lot earlier. This can be especially important when you're trying to keep your shadows clean. I'll do my best to focus on making a video explaining this. You can stick around for that!
will this work on the sony a6500? i tried following your menu settings but i can't find LUTs. maybe my camera is too old :( thanks for the info though! it was very informative
Don't think you can import LUTs on that camera, so no. These are meant for the newer cameras that allow you to import LUTs. You could technically put these on an external monitor, but in general I wouldn't recommend you use s-log3 on the a6500 as it's only 8 bit and doesn't hold up well. For older Sony cameras s-log2 is the better option.
@@georgekamenov_ so grateful for your explanation. I will continue to use slog2 then, i'm very new so those likely aren't even my most important issues as everything is like new to me. Cheers!
@@itsAvient If there's anything else you're interested in learning, feel free to drop a comment with what you're finding issues with. Always looking for ideas about topics I should cover in future videos :)
Grateful for this! What would the colours be for 60-70 ire?
Glad I could help. For 60-70 on this LUT it would be the lighter gray.
@ thank you!
Just bought them..Do you have a chart showing which colors correspond to specific IRE levels ? Thanks for a good product :)
Thanks, appreciate the support! These were based on the chart for the Sony Venice false colors so you can use that one as a reference. Though mine don't have absolutely all of the same colors as I didn't really personally need them when making these. But it still has the main ones for underexposed or overexposed areas, pre-clipping and skin tones.
This is great, thank you!
You mentioned doing a follow-up video with real world examples and practical applications. Did I miss this video, or is it still in the pipeline?
@@Sunrise017 I'm glad you found it helpful! That other video still hasn't been made, but I absolutely still plan on making it and hopefully will soon!
Thanks for creating this LUT! im wondering if there's a false color chart that we can reference to? i tried using it, but i realised i couldnt see any green spot while using this LUT at varying exposure. notably, i see grey, purple, red, yellow, interestingy, there's no green. :)
@@swivel84 This was created based on the Sony Venice false color chart. There is green, but it's typically pretty subtle.
@@georgekamenov_ thanks for the prompt response! : )
Hi! Chrome won't let me enter the link because it says it's malicious. Could you create a new link that allows it to be downloaded or guide me how I can download it in Chrome.
@@pabloteran6145 No idea why it would say that. The link is to the "BuyMeACoffee" platform which is sort of like Patreon.
Thanks a lot for your help!!
You're very welcome!
IMO false color as a very useful exposure tool, LUT-workflow and classic shutter angle are basic features of a cinema camera - especially in 2024. It’s so strange that they weren’t included in FX3 and FX30 from the start
Hey George! Thank you! Would this work on a Flexible ISO mode with ZV-E1?
I believe so. As long as you use it on the first base ISO or above it should display correctly. But it shouldn't be used at ISOs lower than the first base as then the whites clip at different levels and you don't get access to the full dynamic range of the sensor.
Has anyone compared this to the Atomos Monitor false colors?
Thanks for your efforts. I gave it a try with mix results. My main complaint is it's too hard to discern ire of skin tones on my face 50-80 look too similar. I found using zebras set to 60 for skin tone highlights or white card exposed a little under 90 to be more accurate. Could be I'm not a fan of BM false colors or there is something about my setup....
The other complaint is with Sony. I'm guessing they held false color back as away to differentiate between more expensive models or they made the assumption that professionals would always us a monitor for false color. Come to think of it no waveform or shutter angle. Strange considering it's a cinema camera.
These are actually based on the false color chart used in the Sony Venice. Not 1:1 because I chose to not have a few of the colours in my LUTs but in general, this is what they look like on a Venice as well. I agree that certain ire values can look very similar and I might look into trying to make a second version down the line, but for what I need them for right now, these work fairly well for me 😁 But I do agree with you that Sony choosing to not include certain features in a "cinema" line camera is odd 😅
@@georgekamenov_ I made a video of what I'm seeing but it was deleted I'm guessing because I put a link in my post.
@@petercofrancesco9812 not sure what you mean. Where did you make a video?
@@georgekamenov_ My posts keep getting deleted. I don't know if you're doing it or UA-cam so don't worry about it.
bro this is incredible thank you!
@@Keep_Creating_Art You're welcome 🙂
Absolute legend❤
if i want to shot with s709 mlut, what is proper fc version? 709? log?
@@imsuvin2024 The LUTs I've made work on their own. So it depends on how you prefer monitoring false color. If you want to be absolutely safe that nothing is clipping, the 709FC LUT will be the better option.
@@georgekamenov_ thank you !
Hey will these work on the a7siii/zv-e1 with 640 as the base?
I believe so. As long as you're shooting at your camera's base or higher they should work correctly. You might have issues shooting at ISOs lower than the first base because the sensor clips whites at different levels at that point.
Thank you so much ❤
thank you it wrks👌
Guys u have false color on the sonys monitor & ctrl free app. So u can use ur Phone as external monitor with extra features
@@raulddc2803 Fair enough but it's not really as convenient to always have to pull your phone out to use false colours when there's a way to have the feature built into the camera itself 😅
Thanks for this !
You're welcome! Happy to help :)
goated, tysm
@@EstudioFernet You're welcome 🙂
If some of you still dont know how to make it work, prolly its bacause of this setting
MENU → Setup (toolbox icon) → [Display Option] → [Display LUT] → to on
ty, legend.
You're welcome!
dont works for the fx30
@@ilikespaceships5674 I mean, I've literally got it working on mine so it definitely does. Are you sure you imported correctly?
@georgekamenov_ yes maybe it's the newest firmware?
First!
This has existed already. There’s a LUT for it
Yes, it has. Other people have made these types of LUTs, but like I said, the ones I've seen either monitor FC only on LOG or only on Rec709. Which is why I set up 2 of them, because there are situations where having both is better than only having one of them. Plus these are pretty much free, so there's that.