8/12/2023 0 Comments Official sony slog lut![]() ![]() It appears the A7RIII may have used a WB preset at 4300K which I think zeros the tint adjustment. However a RAW file has no intrinsic color baked in - that is determined when the playback software de-mosaics the image and applies some default settings or metadata settings within the RAW or sidecar file. The file EXIF data shows WB 4300 and color mode was neutral using Picture Profile 2. I tried Sony's Catalyst Browse utility and various command-line tools including ExifTool and ffprobe, none of which would show WB data used in your MP4 file. By contrast the MXF container format used by the FX6 has lots of metadata, including WB value used and many other things. To my knowledge it's not possible to inspect a Sony A7SIII MP4 file and deduce the WB setting used. This is a frequent issue when debugging a problem using consumer codecs. But as I'm not sure now, it contributes to the mess. the exif photo camera tells that I shoot the ARW raw images with 4300K (which seems to give an accurate grey.Then I suppose that I have shoot at 4300k or 3200K with my video camera as well, if not the images would be completely red. It's a good idea to shoot a few sec of the white card or better yet a ColorChecker card for use in post.Īttached is a crude attempt to fix the MP4 footage using FCP but if it was shot properly this would not be necessary except for fine tuning. If that is done properly the resultant image should be very close. Ideally the card should fill at least the center 1/3 of the screen, even though Sony mirrorless cameras have a little steerable reticle. Each one does a WB calibration separately. ![]() The resultant K number may read modestly different between the cameras but that is OK. ![]() Be careful to avoid any color spill or splash from nearby items on the card. You can do that with Zebra 2, set it to 61% and adjust exposure on a calibrated white card in front of the subject. They should both be exposed at 61% IRE on a 90% reflective white card. They must be custom white balanced on a white or grey card under the actual lighting conditions of the shoot. If they are both on auto WB or both set to a manual K number (which adjusts only warm/cool axis, not magenta/green axis), they can look very different. If both A7SIII and FX3 are white balanced and exposed properly the image should be virtually identical. I'm struggling trying to color correct footage taken with a Sony 7sIII and Sony FX3. See the attached document for the technical details of S-Gamut3.Cine and S-Gamut3. I'm not sure what the exact recommendations for the Sony A7sIII and FX3 are, but I'd expect them to be pretty close. ![]() Your log image looks pretty decent, but might be somewhat overexposed. setting the value at 5500 because that's what the tubes claim. Depending on the CRI rating for that light you might have significant differences between the real white balance vs. You mention "Kyno-like" light set, which I take as not an actual Kyno light, but some other brand with a similar style. Manually white balancing using an 18% Grey Card. exposing the brightness of the image at 61 IRE (which results in a more contrasty result when grading and also recommended for most of the Sony cameras), and 2. I believe a key factor to getting good results involves two primary things. We shoot in Slog3 frequently with a Sony PXW-Z280 and if grading in FCP we apply the S-Gamut3.Cine LUT as a starting point. I'll try to do a more controlled test to check all of this. It's very easy to clip that on standard profiles. Then I prefer slog just in case some white clothing gets too much light. While this was a controlled enviroment I was shooting with two cameras, and while they are very similar they always need some matching. I shoot slog3 just because it has more dinamic range, and better handling of iso noise (specially overexposing 1 or two stops). I don't think the problem here is white balance (IMO) but the LUT or the way I'm trying to recover the 709 space. I know that the most accurate way to do it would it be doing it manually, but in general this minor casts can be easily corrected. I have set the white balance to 5500 as the tubes are. I don't think you will notice any difference because of that (in terms of color accuracy). I've replaced the dropbox file with a portion of the original. mov, I just exported that from fcpx for speedind up the test. ![]()
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