Thanks for mentioning exposure techniques for nonwhite subjects. This really doesn't come up much on filmmaker youtube and it's nice not to feel erased.
That Venice shot at 9:35 ...whoa! ...that's nice. Also very nice is your talking head shot throughout your presentation. What gear are you using for that shot? I'm going to guess that it's a RED because the highlights are so nice (or you might just have a mountain of mist filters in front of the lens), but it might be a little flat looking for a RED? hmmm
The S. Cine.Tone looked considerably more pleasing and definitely more saturated and cine-like with its colour gammit than the regular S-3. Also, the Venice images certainly do stand out - in some cases more dramatically than others. The A7SIII looked better than the FX3 to my eye as well.
I’m working on a show for Discovery channel here in the states and we just switched from fs7’s shooting std5 (post doesn’t want s-log) to FX9’s and 1-Fx6 shooting s-CInetone and the show looks great so far! It’s a studio indoor competition show so it’s very controlled, mostly indoors and even when we go outside for some challenges highlights hold decent. So far thumbs up all around.
3 года назад
I shot a event together with a friend and we used the fx9, fx6 and a7siii and we used this time cinetone AND the pictures were not identical. Maybe the different lenses caused this but i wish there was a way to match them very fast. Imagine a Color checker and a hdmi device. you plug all cameras in and you film the same chart and then it sets up the internal settings so that the camera match as good as possible. On shoots like this we only have time to set up the same white balance and exposure and then we have to start. IT would be cool if sony could develop something like this "automatic calibrator"
I personally have zero use for cinetone. If I need a fast, delivery ready look out of camera I can just bake in an mLUT on top of slog3 and call it a day. Joel Famularos Arri Neutral LUT just gives me everything I wish cinetone did
Good video. To be honest, I was expecting to disagree with a lot of what this video might have to say about S-Cinetone but it actually confirms most of the things I talk about in my 7-hour FX6 master class. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-95G_LlomWWQ.html If you listen to what he says, what he does do NOT say, and look at the footage he show, this is not exactly a ringing endorsement for S-Cinetone. Agree with that attitude. -- Clearly S-LOG3 always beats S-Cinetone if you have the time for proper grading in post. -- Although it is supposed to be WYSIWYG, S-Cinetone often needs to be graded anyway to get the most from it, so why not just shoot S-LOG3 in the first place? -- Exposure for S-Cinetone is problematic because of the way the reproduction of skin tones and other parts of the image change dramatically at different exposures, thus making challenging to get a consistent look from shot to shot. -- S-Cinetone looks pretty bad outdoors in bright light or scenes with high contrast because it is designed primarily for shooting human beings indoors, with low contrast, a little under-exposed, darkish scenes. When you go outside of that type of scene, it falls apart very quickly. I think the biggest shortcoming of the FX6 is the total lack of paint menus and gamma options that will allow us to actually create a nice all-around WYSIWYG image onboard the camera that will look great in many different shooting scenarios besides human faces. Sony has designed S-Cinetone to provide "cinematic" images when no time for effort will be put into grading. Think of S-Cinetone as being kind of an "auto" mode for getting WYSIWYG images that are sometimes going to be good enough that certain clients and viewers will accept them. But the problem is that S-Cinetone is only going to look good enough for a discerning viewer under a very narrow set of conditions. Sony's previous cameras, such as the FS7, F55, FX9, etc. provide far more tools for getting a decent WYSIWG look out of the camera. But all of those paint menus are is thrown out the window on the FX6 because many of today's camera operators don't want to be bothered with menu settings. So, if you don't like S-Cinetone, that's too bad, because the camera doesn't really give you any other options for a WYSIWYG image. On my FX6 I now shoot S-LOG3 100% of the time for that very reason. If the footage is going to have to be graded anyway, then why not capture the the most flexible images in the first place? Also, it's interesting that this video gives no real exposure advice for shooting with S-Cinetone unless you're shooting a human face, and then you are told to make a judgement call as to whether the person is dark or light skinned. Look at those percentages on the chart -- that is a huge exposure range and open to all kinds of interpretation (aka, "guessing"). I completely disagree that exposure is as subjective as they make it sound. It's not supposed to be guessing game that there are better ways of setting exposure correctly.
@@colorsigma101 Yes, you can load LUTs. I cover that topic extensively in my 7-hour master class. But ultimately I didn't like the results with any of the popular (and custom) LUTs that I tried. If you have a link to some footage that was shot successfully using a LUT I would love to see it. Until then, I don't believe the FX6 is capable of a nice WYSIWYG look that goes beyond the limitations of S-Cinetone. S-Cintone falls apart outdoors iin bright light or anytime you want to put the exposure at conventional broadcast levels. My conclusion is that you either stay within the narrow shooting conditions where S-Cintone looks best, or you switch over to S-LOG and grade in post. That's the two choices. The FX6 has less than 1/3 as many paint menus as the FX9, FS7, and other Sony cameras -- and that hobbles anyone's ability to get a WYSIWYG look out of the FX6 that won't require grading. And I don't beleive a LUT can do it either. Keep in mind that LUTs in post are just designed to be a starting point for further grading, not and end in itself. So how can anyone expect a LUT that is burned in onboard the camera is going to create a finished WYSIWG image? It my testing it can't. But I'm open to someone proving me wrong with a specific LUT and ungraded demo footage to show it in action outdoors, bright light, sunny condition with whites around 85-90 IRE.
@@dougjensen6639 I wont deny your expertise and i cant challenge you as my fx6 is not here yet. I agree with you that S-Cinetone doesnt like high contrast ratios. So if i understand well the FX6 cant deal with highlights outside of Slog3 because any bake in lut is done over a base look and not over slog3 or am i missing something ?
The FX3 really has an incredible package for professional video work considering his fair price tag. Competes with much more expensive cameras, it’s quite amazing. Fantastic image quality from any of 2021 Sony’s Cinema Line cameras really. Great job!
@@TheUnMarketingGroup The FX3 is obviously much more suitable and reliable for professional video work. XLR inputs, active cooling system, mounting points, top handle, tally lights, dedicated video buttons, makes all the difference on set.
@@ResizeFilms Agreed. My comment was based on the previous comment that the A7SIII is "even better and cheaper" and since I don't own an A7SIII, I am curious why they felt it is better than the FX3.
Slog3 still stronger, more daring. Cinetone is bringing something close to "contrastless Sony yellowfaced gamma". It would be nice just to watch a comparison between logs and tone just in Davincj Resolve still gamma LUTtoRec709 + curve edit to -1 stop. I know here lies a forest of "actuallies", but giving people only the portrait at neutral bgrnd, and hard street sunlight gives us a clear view that Slog3 is not giving up. Thank you for video. Like.
i used Cine El mode - Slog 3 Sgamut.cine - s709 luts on sony fx9 and what luts should i use in editing to get color similar to s709 color ? answer me, thanks sir
I have a question.... I am starting a production based on short films and documentaries..... I am planning to buy blackmagic pocket CInema camera 6k pro..... Should I go for it Or should I consider something else.... Please respond.
There's not a one right answer. Buy the one that fits your workflow. I have two BMPCC4K/6K but still have been thinking of adding a fx3 since they are different instruments.
As pretty as S-Cinetone is, my grading workflow is using Resolve Color Management, so getting a r709 base is automatic, and grading in a wide gamut space like ACES and DWG has gotten really comfortable for me. It might be worth attempting to build a color matrix for sLog3 that matches to S-Cinetone somewhat.
@@JonPais well I’m mainly talking about using a matrix to shift SGamut3.cine primaries to a similar point like S-Cinetone. Basically letting you keep your sLog3 latitude, but rearranging the gamut representation. It should be simple enough to build a match in Nuke and translate over to Resolve, but I don’t know if the gamma differences between sLog3 and S-Cinetone will cause any translation errors.
@@colorsigma101 So you’re saying the OP wants to know how to get the S-Cinetone look with S-Log3 so it will look like S-Log2? Only someone on mushrooms would think like that.
Really good video 👍🏻 I have the fx6 but I am still in testing phase and have some problems to find the right exposure 🥴 I canˋt find the metering in my fx6 menu 🤔 i think there is no function exposure metering in the fx6, or? best cinematic greetings from germany 🎞 #filmmakingismypassion
Go to the Monitoring menu (in the full menu) and select Video Signal Monitor to “waveform”, then go to Monitoring - Zebra and set the zebras to “on” and give them values that match the exposure values that you’re targeting (e.g. 40% and 61%).
Hi, thank you for the video. May I ask what adapter from E to a PL mount for Arri Zeiss ultra prime lens do you recommend for the best performance please?
With the recent Resolve 17.2 update that includes gyroscope support for the Sony Venice, would it be possible for you guys to upload some unprocessed Venice clips for download? It's remarkably difficult to find any online from the last year when they added gryroscopic data in firmware 5
Glad to hear a professional say they prefer it slightly underexposed, cause I do as well, and felt like I was the only one that preferred shooting in S-Cine this way
@@JonPais replied go wrong person dude meant to be to original commenter. But the fx6, fx3 and fx9 are slog3 only. Slog 2 cannot support 15 stops of dynamic range
@@harrybasey What do you mean none of these cameras have S-Log2? That’s a demonstrable falsehood. PP7 on the FX3 is S-Log2. Please share the tests where these cameras have more dynamic range than the Arri Alexa! 🤣 You do realize that S-Cinetone doesn’t have 15 stops of dynamic range yet is available on these bodies, don’t you? SMH 💩
Why do the FX6 test frames look cropped in? I'm assuming you shot in 4K UHD? Also, the clip of the sky @ 11:53 has some artifacts/blocking, can we explain that away to YT compression?
If it does not have internal raw recording, it isnt a cine camera. This disqualifies everything but the venice, which only makes it just barely since it does not have 32-bit float audio recording.
