![]() How to get maximum video quality from the Sony A7s The combination of the above is what makes a ‘secret sauce’ for each cameraman. However, it would be wise to test all of them thoroughly. Mere mortals have spent years with their Sony cameras without knowing about all the styles provided. *This allows you to add ‘tints’ by changing the colors in minute increments.Peripheral shading, chromatic aberration, distortion Posterization (Color, B/W), Pop Color, Retro Photo, Partial Color (R, G, B, Y), High Contrast Monochrome, Toy Camera, Soft Focus, Soft High-key, HDR Painting, Rich-tone Monochrome, Miniature, Watercolor, IllustrationĪuto WB / Daylight / Shade / Cloudy / Incandescent / Fluorescent (Warm White / Cool White / Day White / Daylight) / Flash / Color Temperature (2500 to 9900K) & Color Filter* (G7 to M7: 15 steps, A7 to B7: 15 steps) / Custom / Underwater Standard, Vivid, Neutral, Clear, Deep, Light, Portrait, Landscape, Sunset, Night Scene, Autumn Leaves, Black & White, Sepia (Contrast -3 to +3 steps, Saturation -3 to +3 steps, Sharpness -3 to +3 steps) Here are other ways:īlack level, Gamma, Black Gamma, Knee, Color Mode, Color Level, Color Phase, Color Depth, Detail Gamma is an important way to manipulate the image. That’s why it’s all there, and you get to test and choose the one you like the most. E.g., I prefer the way S-Log2 grades over S-Log3. Various gammas respond differently to grading, which you MUST do if shooting in any gamma other than Rec. Just because one gamma has a higher percentage value doesn’t mean it’s better. ![]() I will have more information once I test the camera. Cine1-4 – these are possibly Cinegammas, from 1 to 4.In the shadows the Sony A7s will do great, judging by the performance of similar Sony sensors in the D800, A7r, etc. This should tell you that you must try to avoid clipping highlights under all circumstances. What is interesting to see is that S-Log2 doesn’t have a smooth shoulder (highlight roll-off). S-Log3 would have negligible benefits, thought it still might come as a firmware update. This could be why Sony has decided S-Log2 is good enough for the A7s. This is borne out in the footage I’ve seen so far. I would place the Sony A7s slightly better than the Canon 5D Mark III (10.5 stops), but not as good as the Blackmagic Cinema camera (13 stops). The Sony F55, shooting RAW, has about 14 stops of real latitude. An 8-bit signal subsampled at 4:2:2 will probably reduce the dynamic range to about 11 stops. Let’s not fail to see that the above graph is plotted on a 10-bit signal in probably RGB space, without chroma subsampling or compression. They claim S-Log3 has 1.5 more stops of DR than S-Log2. If you look at where Sony claims the white and black points clip, you’ll see the curve lies in the region from -10 to +6, or 16-stops of DR. Here’s a graph showing S-Log2 compared to S-Log3 (newer gamma found in the Sony F5/F55/F65): However, practically, the dynamic range is limited by the gamut and noise characteristics of the sensor. In other words, Sony claims that the A7s can record about 13 times more data than Rec. ![]() So, guess where 100% white should fall? 1300%. ![]() You’ve probably heard of people using 18% middle grey to expose cameras. Sony claims it has 1300% more dynamic range (15.3 stops of DR). S-Log2 is a gamma curve that keeps the image flat for grading. A complete visual representation of the filmmaking process from beginning to end. When grading, Sony recommends that you work in a 32-bit environment for maximum quality.Įxclusive Bonus: Download your FREE Blueprint: How to make a movie. If you work under a studio swing environment, then you must take this into consideration or risk clipping. Whether you’re working with 1080p or 4K, you must take care in your color transformations while working in xvYCC mode.
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