Housekeeping: 1: When I say 24-70 will cover necessary focal lengths, what I mean is bare minimum of what I expect to need on a shoot that "I" do, not what anybody else does. In super 35, 18-50 f2.8 was about all I "needed" but benefitted from having selections of longer lenses when available in certain situations. I would say a "complete" low cost kit covering everything would be a 24-70 f2.8, 85 f1.8/1.4 (or 100 or 135 depending on what you like for headshots), and a 70-200 f2.8 OR just get a 24-105 f4 or the 28-135 f4 Sony G. After using modern zooms on LF I have not personally found much a need to justify the the cost of primes in most situations. 2: Banding in video is due to RUclips compression, nothing else, and I could not avoid it. Any attempt I made to get rid of it made it worse and I am tired of playing that game. I can do a video about this if needed but essentially there is no way I know of to dither banding normally and RUclips not turn it to mushy junk. Even when source file is band free, RUclips messes it up, so f*** it.
Hi Tony, your videos are amazing and have taught us so much so far. So much knowledge in this channel, I have really learned a lot!! I was wondering if you could make a video on color management and the difference between spaces: arri log c, davinci gammut, aces... If you have done one already, could you point it to me? Thanks beforehand!!
Thanks again for your advice and feedback on working with Sony. I recently played with the Panasonic S5 as a lower cost alternative. But, as much as the AF has dramatically improved there were still too many instances where the AF pulsed in the background. So, it looks like the FX3 still wins out.
That was literally the reason I went with Sony over the Panasonics... Also sigma glass works better in video AF on the Sony than Panasonic. If only they would use phase detect!
@@TonyDae Yea, I don't know what's keeping Panasonic from PDAF. On one of the LUMIX streams we were told that Panasonic is going to keep running with contrast based AF. I don't get it. They don't seem to care about their market share. I think their sales would skyrocket if they went with PDAF. Tomorrow there's a LUMIX stream planned where they will actually announce upcoming models in the GH series. Probably the GH6. I would be quite a surprise if they suddenly turn to PDAF for the GH6. The fact that they're having a stream entirely based on the GH series, you would think that they have big announcements planned. They better be good.
Thanks for sharing such great information with us! I’m new to the Sony FX3 family I was wondering how to use this color manage work flow on my apple M1 ? Thanks the help
Hi Tony, would you recommend using the default settings in the S-log2/3 profile w/ s-gamut/cine when working in a color-managed workflow or would a custom picture profile produce better results in a color-managed workflow?
In order to get the transform to work correctly you will need to select the correct inputs. If you do that, the color management workflow does the rest. Color management does not provide a look, just a mathematical transform to give you a good starting point as well as mapped to your display parameters. Basically, you get the color science from the camera mapped to your monitor parameters. The timeline color gamut and gamma can be changed depending on what you like to work in, but I definitely recommend Davinci Wide Gamut because it pretty much guarantees that colors won't be clipped in the timeline whereas others can (rec709). Generally, I find the rec709 Davinci mapped transform pretty good for an overall commercial look (very similar to Arri's rec709 lut without shadow soft clip) with just a few adjustments. Its accurate and skin tones get mapped correctly and only need a few adjustments here or there with the color warper or an RGB splitter with midtone adjustments to get the skin tones looking right. Reds can appear saturated sometimes but can easily be mapped back. I save out favorite power grades. Some selections for slog will require a bit of extra work to make sure they are transformed correctly. If you use slog2 with sgamut3.cine for example, you will have to make a custom workflow with the separate gamma/gamut option turned on and manually select the correct ones. This is because slog2 usually goes with sgamut3 and doesn't usually get used with sgamut3.cine. I hope that this answers the question.
@@TonyDae sorry to bother you again . so i just seen your other video titled "Let's Grade Slog2 In Under 10 Minutes! " i believe you used this method of " Resolve Color Management into Davinci WG, output to rec709 g2.4 " . and my question is : is this for footage shot slog2? what about slog3 is it the same process? because i have a small sony zv1 that i use when i travel and i don't know what color profile should i choose in camera slog2 or slog3 ?
@@jimyhustle You can do the same process for slog2 or slog3. You need to just be sure to choose the correct input color space and gamma. If it is slog2 with default, it will likely be slog2/sGamut. If it is slog3 it will be either slog3/sgamut3 or slog3/sgamut3.cine. As far as which profile to use, use either but, if its 8bit, you're probably better off with slog2. I would also recommend changing your slog2 color space to sGamut3.cine if possible as I think that sGamut3 and sGamut3.cine do provide a bit more pleasing initial transforms for skin tones (adds more red and removes some yellow/green). When you complete the set up of your color management settings, you will need to then check that your clips are all being transformed correctly. You can do this by right clicking the clip in the thumbnails in the color page and looking at the input color/gamma or by media window in the color page by right clicking the clip(s). You can do multiple by Ctrl+A for all, shift clicking, or ctrl+clicking. Hope this helps.
Housekeeping:
1: When I say 24-70 will cover necessary focal lengths, what I mean is bare minimum of what I expect to need on a shoot that "I" do, not what anybody else does. In super 35, 18-50 f2.8 was about all I "needed" but benefitted from having selections of longer lenses when available in certain situations. I would say a "complete" low cost kit covering everything would be a 24-70 f2.8, 85 f1.8/1.4 (or 100 or 135 depending on what you like for headshots), and a 70-200 f2.8 OR just get a 24-105 f4 or the 28-135 f4 Sony G. After using modern zooms on LF I have not personally found much a need to justify the the cost of primes in most situations.
2: Banding in video is due to RUclips compression, nothing else, and I could not avoid it. Any attempt I made to get rid of it made it worse and I am tired of playing that game. I can do a video about this if needed but essentially there is no way I know of to dither banding normally and RUclips not turn it to mushy junk. Even when source file is band free, RUclips messes it up, so f*** it.
Hi Tony, your videos are amazing and have taught us so much so far. So much knowledge in this channel, I have really learned a lot!! I was wondering if you could make a video on color management and the difference between spaces: arri log c, davinci gammut, aces... If you have done one already, could you point it to me? Thanks beforehand!!
I'll look into it, thank you!
Thanks again for your advice and feedback on working with Sony. I recently played with the Panasonic S5 as a lower cost alternative. But, as much as the AF has dramatically improved there were still too many instances where the AF pulsed in the background. So, it looks like the FX3 still wins out.
That was literally the reason I went with Sony over the Panasonics... Also sigma glass works better in video AF on the Sony than Panasonic. If only they would use phase detect!
@@TonyDae Yea, I don't know what's keeping Panasonic from PDAF. On one of the LUMIX streams we were told that Panasonic is going to keep running with contrast based AF. I don't get it. They don't seem to care about their market share. I think their sales would skyrocket if they went with PDAF. Tomorrow there's a LUMIX stream planned where they will actually announce upcoming models in the GH series. Probably the GH6. I would be quite a surprise if they suddenly turn to PDAF for the GH6. The fact that they're having a stream entirely based on the GH series, you would think that they have big announcements planned. They better be good.
Thanks for sharing such great information with us! I’m new to the Sony FX3 family I was wondering how to use this color manage work flow on my apple M1 ? Thanks the help
Send me an email
Tony thanks you very much for your help and taking the time to make a video to respond to my question! 🤙
Hi Tony, would you recommend using the default settings in the S-log2/3 profile w/ s-gamut/cine when working in a color-managed workflow or would a custom picture profile produce better results in a color-managed workflow?
In order to get the transform to work correctly you will need to select the correct inputs. If you do that, the color management workflow does the rest.
Color management does not provide a look, just a mathematical transform to give you a good starting point as well as mapped to your display parameters. Basically, you get the color science from the camera mapped to your monitor parameters. The timeline color gamut and gamma can be changed depending on what you like to work in, but I definitely recommend Davinci Wide Gamut because it pretty much guarantees that colors won't be clipped in the timeline whereas others can (rec709).
Generally, I find the rec709 Davinci mapped transform pretty good for an overall commercial look (very similar to Arri's rec709 lut without shadow soft clip) with just a few adjustments. Its accurate and skin tones get mapped correctly and only need a few adjustments here or there with the color warper or an RGB splitter with midtone adjustments to get the skin tones looking right. Reds can appear saturated sometimes but can easily be mapped back. I save out favorite power grades.
Some selections for slog will require a bit of extra work to make sure they are transformed correctly.
If you use slog2 with sgamut3.cine for example, you will have to make a custom workflow with the separate gamma/gamut option turned on and manually select the correct ones. This is because slog2 usually goes with sgamut3 and doesn't usually get used with sgamut3.cine.
I hope that this answers the question.
thanks for the advice . what's your personal workflow when using slog3 with the fx3? aces or logc transform or something else?
Resolve Color Management into Davinci WG, output to rec709 g2.4 w/Davinci's output compression. I use this with pretty much everything.
@@TonyDae thanks
@@TonyDae sorry to bother you again . so i just seen your other video titled "Let's Grade Slog2 In Under 10 Minutes! " i believe you used this method of " Resolve Color Management into Davinci WG, output to rec709 g2.4 " . and my question is : is this for footage shot slog2? what about slog3 is it the same process? because i have a small sony zv1 that i use when i travel and i don't know what color profile should i choose in camera slog2 or slog3 ?
or maybe i shouldn't bother with slog since it's an 8bit camera? and i can' push it in post . but i love the highlights i can recover in slog .
@@jimyhustle You can do the same process for slog2 or slog3. You need to just be sure to choose the correct input color space and gamma. If it is slog2 with default, it will likely be slog2/sGamut. If it is slog3 it will be either slog3/sgamut3 or slog3/sgamut3.cine.
As far as which profile to use, use either but, if its 8bit, you're probably better off with slog2. I would also recommend changing your slog2 color space to sGamut3.cine if possible as I think that sGamut3 and sGamut3.cine do provide a bit more pleasing initial transforms for skin tones (adds more red and removes some yellow/green).
When you complete the set up of your color management settings, you will need to then check that your clips are all being transformed correctly. You can do this by right clicking the clip in the thumbnails in the color page and looking at the input color/gamma or by media window in the color page by right clicking the clip(s). You can do multiple by Ctrl+A for all, shift clicking, or ctrl+clicking.
Hope this helps.