![]() The Sony A7S III clips at 94 IRE and there is no way to recover the highlights when they are blown out. In Slog-3, below 10 IRE won’t ruin the image but it will be much harder to grade and you might not ever be able to make it look good.īelow 10 IRE you’ll also lose texture and details, and the compression will be much more noticeable. Never allow the black portion of the middle to fall below 10 IRE below 10 IRE you will no longer be able to recover the darkest parts of the image and it will always look bad when shooting in Rec709. Simply set your custom zebra functions to IRE range you desire for the subjects skin, and once their face is fully lite up with zebra stripes, you’re there. The skintones of the subjects in your footage should never exceed 80 IRE and making sure you keep your values of the subjects in range with the custom zebra functions is easy. Simply by touching the rear touch screen you can see if your image if exposed properly if your middle grey card reads as a zero, you’re all set. The A7S III has a focus spot function that meters a focus point. This is very easy to do with the A7S III. Sony recommends that middle grey should fall at 40 IRE on your exposure chart. ![]() If you want to do-it-right when you’re exposing your camera, you HAVE to use a grey card, period. It is the best choice for shooting in 10-bit, but if you are shooting with an 8-bit codec it should be avoided as it will cause issues with banding and compression artifacts. S-Log2 is good, but S-Log3 is less contrasty and easier to grade. The Sony A7S III has two different Log profiles to choose from: S-Log2 and S-Log3. Shooting in XAVC S-I will give you the highest quality and, personally speaking, I only ever shoot with my cameras at the absolute highest quality settings no matter what. I believe in getting right to the meat of it, and not dragging you along until the end so without further ado, these are the settings you should use. Simply put, if you’re not filming in log, you’re throwing away almost half of the details in your images and there is no way to get them back.Ĭheck out this great article we posted a little while back with Gerald Undone that dives a little deeper into what log is and how to work with it in DaVinci Resolve: Common Log Grading Mistakes and How to Avoid Them The Best Settings for the Sony A7S III Log is a method of compressing the colors and dynamic range of the image into a signal that retains the most information for professional color grading in post. Understanding the importance of shooting in Log is the first step in understanding how to properly use your Sony A7S III. Thankfully, wolfcrow has put together an in-depth guide on how to get-it-done-right when filming in S-Log3 on the new Sony A7S III. The Sony A7S III is a terrific, low-cost, dynamite low-light powerhouse, but when you’re not shooting with it in raw, taking the time to get your color and exposure set properly the first time is of the utmost importance (even in 10-bit). Sure, mistakes happen, lines are forgotten, nothing is ever going to be perfect, but when you’re a cameraman knowing how to properly expose your camera to get the best possible image is paramount. When you’re a professional filmmaker, not doing it right the first time means you’re losing money. And unless you’re Peter Jackson, that probably won’t ever happen. In filmmaking, you never get a second chance unless you’ve got a lot of money to pay for a reshoot. Choose one of the files in the folder “01-HE Cine LUTs” and you are ready to use the LUT and tune it as you want.As John Robert Wooden, the famous NCAA basketball coach, once famously said, “If you don’t have time to do it right, when will you have time to do it over?”. In your editing Software navigate to the Color Correction Window, Tool, search for, “Look” or “Import LUT” - it depends on your editing Software, then you can choose a. ![]() cube files and they are located in the folder “01-HE Cine LUTs”. | Free help and support IS A VIDEO THAT WAS EDITED WITH THE LUT PACK: | Other tools for Cinematic Videos such as Film Grain and Crop Bars | 20+ Outdoor Soundeffects + Transition SFX ![]() ![]() The LUTs work in Adobe Premiere Pro, After Effects, Final Cut Pro X and other editing Softwares. In addition to the LUTs you get more then 20 Outdoor Soundeffects, that I have recorded during my adventures and other helpful tools to make Cinematic Videos such as Film Grain & Crop Bars ! All other Cameras that record in a Flat Picture Profile cube LUTs are designed for Footage recorded in a Flat Picture Profile, like Sony Cine2/ 4 or S-Log2. Here is my Cinematic LUT Pack that I have created to make footage that was shot on the Sony A7III, A6600. CINEMATIC VIDEO LUTS FOR FLAT PICTURE PROFILES OVERVIEW ![]()
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