There are some film-look LUT’s and 709 (normal TV look) LUT’s and in each case there are LUT’s for normal exposure as well as footage exposed 1 stop and 2 stops brighter. If you follow the link below you will find a set of LUT’s (Look Up Tables) that can be applied to A6300 footage in post production to give different looks. Besides, viewing and monitoring S-Log3 is tough as the pictures look even flatter than S-Log3. The A6300 etc also have S-Log3, but as these are 8 bit cameras (even when using an external recorder) I would still recommend that you use S-Log2. The very same techniques can be used with the A6300, A7SII and A7RII. I wrote a guide on how to do this with the Sony A7s here: But trust me, shooting 1 to 2 stops brighter than the recommended levels given by Sony on the A6300 (and any other Sony Log camera) will normally bring the best results. It will lack color and it will be noisy and grainy.įor most camera operators it’s quite disconcerting to start shooting very slightly over exposed as it goes against everything you’ve learnt about shooting with a conventional video camera. So unlike conventional gamma where we “protect the highlights” with log gamma you need to “protect the shadows”. As a result log gammas really don’t like being under exposed, instead they prefer to be over exposed. Log gamma curves do have a shadow roll off that mimics the real world shadow roll off. As a result exposing log gamma extra brightly is not normally a problem and in many cases brings lot of advantages. It also means that there is no longer a need to use any highlight roll off or knee, so there is a lot more picture information in the highlights and brighter parts of the image. So working with S-log2 and S-Log3 is a two step process – shooting and grading (grading is the term used for adjusting the look of an image in post production).īecause log gamma no longer needs to have a contrast range that matches the display range, more dynamic range can be squeezed into a conventional recording codec. The pictures will be made compatible with the TV or monitor via adjustments made during editing or in post production. To do this they no longer try to be directly compatible with conventional TV’s and monitors and just focus on capturing the biggest possible range. They extended the dynamic range that the camera can capture. Log gamma curves such as S-Log2 and S-Log3 are very different. Most TV camera operators will be very familiar with the phrase “protect your highlights”, meaning don’t over expose, if anything under expose a tiny bit to keep the highlights looking good. In addition it also means that if you are over exposed when you shoot, the picture will look bad and no amount of post production correction will ever make it look good. Unfortunately this means that the highlights are somewhat compromised, looking very flat, lacking contrast and this is often what gives video the “video look”. Then to help deal with bright highlights conventional gammas use some kind of highlight roll off or knee to increase the brightness range the camera can capture without effecting the mid range. To do this conventional gammas keep the mid-range contrast compatible with conventional TV’s and monitors, so the picture has natural contrast when viewed on a TV. Conventional gamma curves (like rec-709 or Cinegamma) are designed to produce a pleasing on screen image without any post production work (although the cinegammas do typically benefit with some tweaking in post). Log gamma curves are very different to conventional gamma curves. As well as the Cinegammas the camera also has the S-Log2 and S-Log3 log gamma curves as well as S-Gamut, S-Gamut3 and S-Gamut3.cine. The Cinegammas are very useful for challenging lighting conditions as they offer an improved highlight roll-off. It also has picture profiles so you can tailor the look of the pictures or to suit different shooting conditions. This compact interchangeable lens camera has an amazing feature set that is very similar to the features found on it’s bigger brothers the A7sII and A7RII.Īs a video camera it’s also capable recording using the XAVC-S codec in both HD and UHD(4K). The new Sony A6300 is making quite a stir.
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