Sony A6300 Picture Profiles, Slog and LUTs
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- Опубликовано: 7 сен 2024
- A demonstration of Picture Profiles, Slog and LUTs on the Sony A6300. This demonstration includes the DSC Labs XYLA26 chart.
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XYLA chart: • Sony A6300 Picture Pro...
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This should be included in box with the A6300, light years ahead of Sony's own literature. I'm from Toronto as well, nice to see the city in such a professional and charming review!
What a pleasure to read your kind words, thank you.
I think this must be the best video I've seen about the 6300 picture profiles. Thank you.
That is very kind of you to say, thanks for taking the time to comment.
This is the video I've been looking for. Thank you so much!
I'm so glad to hear that - thanks for watching and the kind words. Are you looking for any other videos?
Actually, I just bought this camera and I'd like a more scientific way of testing the high-ISO performance. If you could make a video on that, that would be great! Most of the other demos on RUclips are limited.
The XYLA chart is about as "scientific" as it gets ... or can you provide more detail about what you're expecting?
Oh, not for testing dynamic range. Just an ISO ramp-up video of this camera with some real-world low-light results would save me a lot of time!
Understood. There are some low-light, high ISO samples in my review ruclips.net/video/PXTzQPnDx2c/видео.html do you mean more like that?
your video is 7 years ago but still helpfull! THANK YOU SO MUCH SIR FOR THIS VIDEO!! :D :D :D
Glad it helped! Thanks for the kind words. BTW _ I think your caps lock key got stuck about halfway.
A very helpful video with visual demo clips! Much better than other similar youtubes I've watched before. As a beginner, I am much appreciated for your work.
A pleasure to read your kind words, thanks for commenting.
Super helpful. Great information and it was nice to see examples. I had my Picture Profile set up incorrectly for the look I want. Thanks to you I was able to fix that!
Always nice to hear that you found my videos helpful, thanks for commenting.
Awesome!!!! I would mention the need to overexposed slog to avoid noisy shadows
Thanks, love your enthusiasm. I prefer to mention that SLog profiles shouldn't be used unless absolutely necessary and only after some experimentation and trial.
Thanks for the perfect guidance on PP.
Always my pleasure, thanks for commenting.
Very good information, easily consumable. Thank you for providing the video. :-) I recently purchased the Sony A7 III and as a 10 year Canon shooter (AE1,10D,20D,7D,7DmkII) your videos are very helpful! :-)
That's very kind of you to say - I always appreciate when viewers find my content useful and helpful.
Maarten, i truly appreciate your work and can not comprehend how you have "only" 12.000 subscribers. Your videos greatly helped me as a photography beginner, from choosing the right camera to understanding their features. I watch every video, even if it is about gear that i will never get, because i can always learn something new. You have a way of explaining difficult little details in a simple, easily understandable fashion, and your voice is soothing. It's like you were born for this! I also like your strange obsession with tulips and the fact that you always seem to be on vacation. If i ever meet you in real life, i will hug you!... Okay haha maybe just shake your hand :)
Greetings from Germany,
P
+P Zack What a pleasure to read your comments - thank you so very much. I really don't measure my success by subscribers. I can explain my obsession with tulips, as my family background is Dutch (even though my family name is German). And yellow tulips are my small memorial to my mother. I wish I was always on vacation - but I do love to travel both around the world and around Toronto. I want to take interesting photographs and you've got to get out of the house to do that. I'm looking forward to that hug - please let me know when you'll be in Toronto - I've got some lovely coffee shops, and great photo locations we can go to. Thanks again, with greetings from Toronto!
+Captain - Chaos 2 It is impressive, and it's growing. But more than subscribers, I'm impressed by the search standings. For most of the cameras I've reviewed, my video appears very high in the results. And thanks for the recognition - I do try to produce high quality videos. Thanks for commenting.
FAR AND AWAY the best video on this. Thanks!
How nice of you to say, thanks for taking the time to comment.
***** Well deserved. Bookmarking as a reference for the future. Thanks again!
Thanks, I appreciate the kind words.
Hi Maarten! I can't be grateful enough for your stunning videos. Your paused way to explain and your super detailed instructions on each menu, are the best of the best on RUclips.
Thank you! Thank you! Thank you! :)
What a pleasure to read your kind words, thanks for commenting.
THANK YOU SO MUCH! You opened MY EYES! I can see!!!
You, Sir, should be a teacher! Wait! YOU ARE ONE ALREADY!
All the best!
I appreciate the kind words, thanks.
By golly, what a great video! Many thanks!
It's my pleasure - and thank you for your kind words, appreciated.
Again the best explanation on the theme.. Thank You!
How kind of you to say, thank you!
Very detailed, very useful, am very grateful...
+Marc Baptista Thanks for taking the time to comment, and for your kind words.
You are great .. now i understand what the purpose of sLog
thank you :)
This is always the nicest comment - when I've helped someone understand a feature, thanks so much for writing.
Maarten Heilbron
you're welcome sir.. 😁
Help me a lot 😁
A wonderful explanation for sony slog profiles, and more are the answers to the comments below. Besides the grading capabilities for the slog.. could we say that the slog2 is used for outside to recover the shadow and darks, while slog3 (PP8) is to recover more highlight ?!!
Thanks for the kind words, appreciated. You don't need to shoot with Slog to made colour and exposure adjustments ("grading") in post. Both Slog2 and 3 are most useful when you're shooting in conditions where there is a very bright part in the scene (typically illuminated by the sun) while your subject is in the shade - as the difference will likely be more than the standard dynamic range. Unless the dynamic range of the scene is too wide to be handled without Slog I would not recommend that you use it - instead, if you are going for a more "cinematic" look, use a cine gamma and turn the detail and saturation down. In wide dynamic range situations, Slog3 may be useful if the range of Slog2 is insufficient.
Remember that because the Slog settings compress the dynamic range that the quality of the image will be affected. And as the A6300 records only in 8 bit, the amount of information that can be "recovered" is small.
This is very interesting and valuable advice, appreciated very much. I'll be traveling next week 7,800km to (Indonesia) to do a short documentary using a6300 and will follow your advice. For the "cinematic" look, do you mean by "use a cine gamma" PP4 profile !! For the detail I know it would be (-7) but don't know about saturation setting, I know it for canon but not sony. My concern is mixing between profiles.
It's hard to be specific with guidance, as it's very scene dependent ... for interiors I'd use PP5 or 6 with detail -4. Exteriors probably better with PP4, also detail -4. Hope this helps - have a great trip. Use zebra to check that you're exposing faces properly.
Thank you Maarten 👍🏻
Always happy to help.
Thank you for these great, clear and concise guides. Straight and to the point.
Thanks for the kind words, and for appreciating my "no time wasted" approach.
Thank you +Maarten Heilbron, this brings clarity into my dilemmas with Slogs and gradings or LUTs using in post. Thanks also to all who commented, loads of extra knowledge there as well.
Thanks for the kind words, glad to hear you found it helpful - and I agree, it's just great to have the added benefit of other viewer's comments.
Very nice information. So it sounds like it's better to use light correctly if you can and if you can't, well then there's one of these slog profiles -- meaning better to shoot your tulips at a different time of day.
+John Roberts Thanks for the kind words, always appreciated. Well, yes. For the tulips, standard advice would be 1) don't use a window as a background, b) if you must then apply an ND gel to the window and c) use daylight balanced light to offset the difference. I think my most important takeaway from experimenting is that it's useless to use Slog profiles in scenes that don't have sunlight and the resulting wide dynamic range - for example for indoors scenes where all the light is reflected. Achieving a film look isn't as simple as employing a specific gamma curve (although it can help).
One of the best videos I've seen on this subject, thank you!
Very kind of you to say, thanks very much for commenting. You had me at "One of the best videos I've seen".
you are great master... good explanation and test in dynamic range...
Thanks for the kind words.
Thanks for this. After many years out of my hobby, just getting back in and this was very informative.
How-tos on proper use of zebra with slog and the like would be appreciated. It's unfortunate that the 6300 is 8bit, an extra two bits would be a great boon to grading in post.
+Ian Kennedy Thanks for the kind words, always nice to hear that my work is appreciated. Getting the right exposure for Slog footage is complicated - l'm still doing some learning and trial and error myself. I have several reviews underway, but let me see if I can add that to the schedule.
Nice video. I just want to point out why the camera shoots at 800 ISO in Slog. ISO is a measurement of a sensor (or film's) sensitivity to light. ISO 100 is generally the amount of light the sensor needs to capture a noise-free difference between black and white in a scene. So if you shoot a candle flame for a second, at ISO 100 say, the detail of the flame should be perfect and fully saturated (and the darkness fully black, without noise). When you set the camera to ISO 800 (or it sets it for you is picture profile 7) you aren't changing the sensor sensitivity. That never changes. What's being changed is the amplification of the signal by the device's signal processor. An example:
When you get a phone call and the quality is good you leave the volume at the standard setting (ISO 100). If someone on the other end puts the phone down, and you have trouble hearing their voice, you raise the volume (ISO 800). You can now hear the person, but the audio quality is bad. You make the trade-off of bad-quality sound for good quality distinguishing of what they're saying. It's the same in cameras. If you can't get enough light on your subject the camera must amplify the signal so you can "see" the subject at the expense of proper saturation.
The other problem is that when the camera over-amplifies the signal (ISO 800) in slog, it's allowing more light into the sensor that it is meant to handle. It is essentially overwhelming it. Again, that benefits getting more detail out of sensor's output where this is NOT enough light, but over-whelming (over saturating) the sensor where is has GOOD light. Because the sensor has been over-amplified, it looses data that cannot be recovered in post (just like you can't make your phone recording of a concert into CD quality at home on your computer). Hope this makes sense.
Thanks for the clarification. I understand the distinction and I wish that somehow (as it is in some video cameras) the term was changed to gain and stated in dBs. I'm not sure of the interplay between sensor and processor, or where the response curves are applied - but thinking of the sensor/processor as a single entity is more useful than trying to keep them separate.
I'm not confident in agreeing that the sensor's response to light is static, and from your statements, neither are you. I believe that the statement "it's (assuming that "it's" here represents the processor's increase in gain) allowing more light into the sensor" is incorrect.
I also don't agree with your thoughts about over-saturating the sensor. As I demonstrate here ruclips.net/video/k2ICurq3hso/видео.htmlm35s Slog2 (profile 7 on the A7SII) captures highlight detail that clearly overwhelms the sensor/processor in its default setting. That scene - with more detail - is also in my A7SII review, where you can see the settings as I apply them: ruclips.net/video/uD3c--CKJ_I/видео.htmlm9s
I use the audio analogy a lot in explaining ISO, but it often doesn't seem to be useful - even though I describe it in terms of an amplifier that adds both noise and distortion when it's turned up too high.
However, you promised to explain why ISO 800 is needed in SLog ... that I still don't get - but I am observing that Sony is bringing that number down over time (the first A7 with Slog was 1600).
Good corresponding with you - thanks for the opportunity to rethink some of these concepts.
Maxotics How can you say it allows more light into the sensor?
Amount of light is determined by your iris and shutter. No matter which ISO you use, the amount of light reaching the sensor is the same. It is only amplification that happens with higher ISO which in turn brings more noise out of the signal.
You may have mis-read, you are both agreed on the same point.
You must be retired from hollywood's tech part ! awesome video sir !
Very kind of you to say, thanks for commenting.
Great stuff Maarten, thanks!
Thanks for the kind words, always appreciated.
Looking forward to your A6300 review.
+shawn782 It's in progress, thanks for your patience.
maarten out! thanks for the vid, my a6300 shows up tomorrow i can't sleep
Thanks for the kind words, always happy to hear I've added some excitement to the photography space.
Maarten, you never disappoint, great video!
+BackFocus11 That's very kind of you to say, thanks for commenting.
This is what I wanted! thank you so much
Glad I could help. You might also like: ruclips.net/video/k2ICurq3hso/видео.html and ruclips.net/video/AVUS6GoL42Y/видео.html
Clear and neat explanation.
Thanks. I appreciate your kind words.
Many thanks for posting this really helpful video. Looking forward to the full review.
+microbroadcast It's my pleasure, thanks for your kind words and your interest.
thank you so much for this
always my pleasure, thank you for your kind words.
¡Best explanation EVER! Thanks to you!
A pleasure to read your kind words, thanks!
thanks for the video, very clear and helpful on the subject!
Always my pleasure, thanks for the kind words.
Exactly what I am looking for, thank you for the great video.
I'm so glad you found it, thanks for the kind comments.
Another extremely informative video.
+Average Adversary That's very kind of you to say, I do my best to meet those goals.
thank you, love your videos, very helpful as always
How pleasant to read your kind words, thanks!
thank you very helpful .... you were very patience in explaining :)
I appreciate the kind words, thanks for commenting.
extremely helpful! Thank you sir!
Thanks for the kind words, always nice to know my content is appreciated and helpful.
excellent. thank you
Thanks for your kind words, and taking the time to comment.
Maarten, you are the master, thanks, your video is very, very, helpful.
Very kind of you to say, I appreciate your comment.
Maarten, I think you are the best (in sense of quality depth precise information) in specification and use at least in Sony alpha. Also I really like the speed you use, I mean it fast. We can always see again, but the slow explanation feels la for ever...I notice you used Final Cut for edit the color in the pictures profiles slug. Do you think is the best software for this task? What about Adobe Premier or any other? I am a FcpX user, but I understand in color grading Adobe is more suitable. i am very interesting in your opinion about it, or recommendation. Thanks
Thanks, I appreciate the kind words. I try to keep my videos a clear as possible - I don't want to waste your time. I do use FCPX with Color Finale to do colour correction (I don't do much "grading".) It works well, it's fairly easy to use, I like it. I don't have any experience with Premiere, or its colour adjustment tools. The other application that many people use for colour correction is Davinci (which is available free).
Just discovered your video. An excellent guide, very helpful!!
+ajalbetjr Thats very kind of you to say, thanks for commenting.
WOW! This is what we need to know! I have subscribed!
Great news, thanks for the kind words.
I really do like your very informative videos..
+michael falk Thanks for taking the time to comment - and thanks for the kind words.
That´s what happens when a REAL PRO evaluates equipment. Many thanks, you should be every manufacture´s user manual.
A real pleasure to read your kind words, thanks!!
amazing videos!
I appreciate your kind words, thanks for watching and commenting.
This is so helpful thank you. You said that you put your zebras at 100, but I'm curious if you were to put them at 109 which is where this camera clips or 106 which is where it clips in slog 2, if maybe another .5-1 stop of shadow gradation would have appeared. What do you think?
Thanks - an interesting question. I used a waveform monitor (on the shogun) to determine where it seemed that increasing the ISO increased everything except the left-most chip on XYLA chart - the point where the sensor was no longer able to register an increase in that chip - at that point I felt that it was likely clipping the signal. I referenced the zebra in the video as that would be a reference that most viewers would be able to use. That seemed to me to be 100. As you can see, particularly with SLog2, the leftmost chip is already starting to bloom slightly - I'd be hesitant to push it further.
However, test charts are not real life, and I would encourage you to judge each shot and situation on its own merits, and if you are intent on eking out the greatest dynamic range that you use a waveform monitor and determine exactly where an increase in ISO (or aperture) no longer increases the brightest point in the image.
I hope this helps,
Thank you for this video. It's wonderful! Very informative and objective. Thanks.
+Picto Films It's my pleasure, thanks for the kind words. The excellent sample on your channel - ruclips.net/video/VOVbQ6yKDEw/видео.html - is a perfect example to illustrate that the other gamma settings also provide excellent starting points for grading and creating cinematic looks.
I do wonder, considering the millions of potential combinations available in picture profiles, if it's possible to find settings which would create that look in camera? The issue might be that it would require a great deal of trial and error, as it's very difficult to assess the quality of a shot on location, particularly on a sunny day.
I've subscribed and look forward to seeing your next videos.
+Maarten Heilbron Thank you for your reply (and subscription).
It would be useful to find a profile configuration that matches closely with the graded image (for quick turnaround projects or situations where a post workflow just isn't possible or convenient). I think the neutral "non profile" works reasonably well in this case, but not quite as cinematically.
The challenge is that on a multi-shot shoot (such as a short film, music video), light changes from shot to shot as well as exposure and lenses and several other variables, all of which lend themselves to being better handled in post. For example, I may use one LUT for one series of shots and another LUT for others, ending up with a similar image. I may sharpen some shots more than others, change the contrast levels etc. If all of these settings are locked in-camera, there's less latitude for making these decisions in post - I can't effectively "de-sharpen" an in-camera sharpened image, nor can I change its contrast or saturation levels independently as effectively/easily as I can in post with a relatively flat image.
I've enjoyed this discussion and, likewise, I look forward to seeing more of your videos.
+Picto Films Understood, agreed. So far, as I've not used a LUT I like (but as I say, the fault could be my exposures) so have been doing it all manually - which is very effective for achieving exactly the effect you want and matching between shots. Much trial and error - but after all, that's one of the aspects of producing videos about cameras that I enjoy. Thanks for taking the time to chat.
Great videos, very helpful!
I appreciate your kind words, thanks for commenting.
Very professional guidance, do you know what picture profile was set on older sony mirrorless, eg nex 5t or 5100? Or 6000? Would you use those older cameras, with no PP, for video? Thanks! Ciao! Marco
Thanks, I appreciate the kind words. Those older models did not use picture profiles, so the equivalent would be picture profiles off. I would, but I would make the adjustments I wanted using the Creative Style menu.
Which picture profile do you recommend in low light situations? Thanks!
Generally (using the default settings) 6, it provides a little more detail in dark areas.
Amazing content subscribed!
I appreciate the kind words and the subscription, thanks!
Excellent job 👏🏻
I appreciate your kind words.
Great video. If I'm not doing any post processing would cine 4 still be appropriate to use right out of the camera ? Which profile would that be on the a6300? Thanks again
I appreciate the kind words, thanks. The only modes that require post processing are Slog2 and Slog3 (which are in the preset 7, 8 and 9 profiles). Although of course, it's perfectly possible to grade and adjust any footage, regardless of recording settings used. Cine4 is appropriate for use right out of the camera. Cine4 is not part of the picture profile presets - but you can select it (it's a gamma adjustment) in any profile - they're saved by default when you make a change. BTW - to reset a preset sample back to factory, use the reset setting, each profile has its own.
Another great video, what in your opinion is a good setting for crisp upload ready footage right out of the camera (if it exists)?
thanks, your kind words are appreciated. The default settings (ie, not selecting a Picture Profile, and using the Standard (or Vivid) Creative Style will give you the standard crisp and colourful video look. I find it does tend to underexpose if any of the auto settings are on - so you may want to turn up the exposure compensation, or the ISO if you're shooting in manual and are using the matrix meter mode to judge.
Very informative, tx a lot!
I'm always pleased to hear that my videos have been helpful, thanks for commenting.
PERFECT VIDEO. YOURE A BOSS!!!!
I appreciate the kind words - but I do notice that your caps lock key seems to be stuck.
Excellent video Maarten. I just had a somewhat unrelated question and was wondering if you have ever used the Sony E Mount 35mm F1.8 lens on this camera before - and whether it's any good for handheld video shots without a rig of any sort? I've heard good things about the lens stabilization but I just wanted to hear your input. Appreciate it! Keep up the great work.
Thank you for your kind words, they're greatly appreciated. I have that lens, I don't use it much. There is no combination of Sony lens and body that will give you anything approaching useful handheld shooting unless you're shooting with the viewfinder and are incredibly steady. If you really want/need to shoot handheld, a rig (stabilized or not) is essential for quality work.
Thanks for the advice! Will definitely take heed. Also, another question (related this time): which picture profile/settings combination do you think would be best for shooting in a low-light scenario? Say around sunset - night? Will noise be an issue if shooting in SLog2? Or should I stick with a Cine4 profile instead?
I am also going to be doing some trial-and-error tests to match the colours and exposure from my Sony A6300 footage to my Canon 6D footage in the days to come as well. Is there anything I should be aware of where the Sony picture profiles are concerned?
Again, many many thanks in advance! You truly are a big help to all of us out here looking for information.
Always my pleasure, and thank you for your kind words. I would use one of the cine gamma settings, if you cycle through them while looking at the shot, the right one will be apparent to get the image you want. I would shoot with SLog only in conditions where there is bright sunlight and an extreme dynamic range. As you correctly suggest, SLog will increase the noise, particularly in low light situations, as higher ISOs are required. Stay tuned - this week's video will be about hand colouring video to match cameras.
Hmm I see. Alright I will definitely be testing out the cine gamma settings in the days to come! Thank you so much again for your help, you are a lifesaver! Looking forward to your next video!
I appreciate the kind words, and I'm always happy to help.
thank u so much about this PP informations i wish see leica d lux typ109 in your hands
+mohamedilyes ache Thanks for the kind words. I'd like to see the Leica as well, but my hands are full at the moment. :-)
Watching your videos is like watching Sunday Morning on CBS haha
That's very kind of you to say. I'm not usually up that early, but I'm sure it's a compliment!
Maarten Heilbron, well there is a man on there with a voice similar to yours. It’s relaxing to listen to. And your coverage of everything is pretty professional just like them!
Thanks for the clarification, I'm honoured to be considered in such good company, thanks!
Certainly! Hopefully they’ll invite you on the show if they do a special about cameras :)
What an interesting thought, appreciated.
That's some high quality stuff
Thanks, I appreciate the kind words.
excellent information
I appreciate your comment, thanks!
What about cine4? There are a heap of video showing Cine4 profile to be the best in low noise with pretty much the same dynamic range.
+GregPhillipsEdits I did some Cine4 shooting last week, and agreed that it's excellent for producing a cinematic look straight out of camera (or requiring minor adjustments).
Hi Maarten, what LUX do you recommend for Cine 4?
Thank You.
I assume you mean LUTs. For Cine4, no LUT is needed - although (I use Final Cut with Colour Finale) I might make some small adjustments while editing.
Maarten, this is really helpful. I had no idea where SLOG settings were, until now. Thank you. I have a, likely too broad, question. I’m partially color blind. So, I struggle in Final Cut, when trying to color grade. I usually just use Final Cut’s “color balance” feature, and leave it at that, which ‘does’ make my video look better usually, but I know I’m missing out. Sometimes, I’d like vibrant, more saturated colors. Other times, I’d like a more cinematic look, other times, I want high contrast, with dark blacks. If I try to achieve those sort of looks on my own though, I always end up making it look worse, and just Undo. Is there any sort of advice you can give: whether it’s some fundamental tips, recommending presets, easy color grading software or etc? Sorry for the long winded question, but thank you for any words of wisdom you may have to offer.
I'm really not sure what to suggest if your own colour perception is impaired. Yes, the color balance feature works reasonably well. Use the new colour wheels feature to increase the saturation if that's the adjustment you'd like to make - it's capable of making those other adjustments as well. May I also recommend this video: ruclips.net/video/1P8pIKYBmP0/видео.html
Maarten Heilbron I really appreciate the response. I’ve bookmarked this video, as well as the one you linked. I’ll check them out after my shift, when I can dedicate my full attention to them. So please don’t take them down for whatever reason :) I
I'll make sure they're there for you.
I hear people say slog 2/3 may need to overexpose for like 1-2 stops, I think you may want to try that out.
Thanks. If you are using only the meter to judge, that might be a good starting point. While I personally use the waveform display on my Atomos Shogun to judge exposure with the Slog gammas, those who don't have access to a waveform may find the zebra settings the best guide - either to increase the exposure to a level that's just under 100, or to set white skin tones (if they're available in the image). Note that with Slog 2 or 3, skin tones should be in a range under 50%. I discuss this topic with a little more detail in this A6300 video settings tutorial: ruclips.net/video/AVUS6GoL42Y/видео.html and more advanced settings here: ruclips.net/video/k2ICurq3hso/видео.html Hope this helps.
Can you do an advanced tutorial on all the nitty gritty of the picture profiles@@MaartenHeilbron ?
@@alokkarnik1867 Thanks for the request, but I believe that request is beyond my ability to deliver useful information. I've consulted with some of my broadcast friends, in the hope that they would assist with a project like this, but could not find anyone willing to collaborate.
if you come across any helpful information please share! Thanks for your work on the channel! @@MaartenHeilbron
@@alokkarnik1867 Other than some highly technical textbooks, there are some good basic resources available from Sony : helpguide.sony.net/di/pp/v1/en/index.html
love this video.
Very kind of you to say, thanks!
i am planning to have a Sony A6300 for vlogging and some commercial shooting. After watching that review, I am more confirmed to that little cam. :)
I think it's a good choice (only partly because I own one.)
Thank you sir, very good video
+puma abu ahmed Thank you, it's my pleasure.
Hello Maarten, thank you for sharing your great wisdom with all of us, I love your channel. I am Israel from Gran Canaria. In December I bought the Sony A6300 and I am very happy. I went on vacation, and barely gave me time to do tests. I had read before about the video profiles and my intention was to burn the image as native as possible and then in postproduction apply a correction of color, Luts and look as professional as possible. It was not the case ... I used the PP9 Slog 3 with S-Gamut-3 color mode, in XAVC S HD format, I overexposed +1, but when I see the final result, I'm not happy, a lot of grain ... Most of the images were recorded in cloudy weather. Would there be a solution in postproduction so that the grain is as little as possible? I use it to edit Premiere. The truth is that I could record very good images and I would like to take advantage of the material. Rookie errors ...
Another one of my questions is the following one: I have heard that the Cine-4 Range goes well to later make a few corrections in postproduction. My intention is to use a profile that has the least possible grains and then be able to add Lut and have a really good final look. What do you advise me?
And my last question: the Cine 4 range, with which color mode do you advise me to combine it: movie, still, cinema, Pro, S Gamut 3, .... ????
I hope you clarify these doubts that I have so far. A big hug, amigo!
I appreciate your kind words. You have run into what is a fundamental limitation of this camera - it records in 8 bit, so afterwards, it's not really possible to do a great deal. Using Slog2 or 3 (profiles 7,8,9) force a higher ISO and increase noise fairly dramatically.
Using picture profiles does not inherently improve your footage. In my experience, or for my taste, using Cine setting 1 or 2 for exteriors and 3 or 4 for interiors suits me best. Then turn the sharpening and maybe the saturation down a little to soften the look.
Use SLog settings only when needed due to a high dynamic range. I typically use still or pro colour modes.
I edit in FCP with Colour Finale to grade, and I do re-evaluate every shot when I edit, both visually and with the waveform.
If you have a specific look that you like, it will take some trial and error to find the settings to enable you to create that - and if you can create them as close as possible in camera requiring minimal post, that's your best option. There are no simple solutions here, sorry. Hope this helps.
Thank you very much for your help, you have clarified my doubts. As you say, I'll have to go combining until I see a profile that suits what I'm looking for. A thousand thanks Maarten.
Always my pleasure - if you end up posting a video with your results, please comment with a link.
Of course Maarten. Now in my channel only have videos with my gopro. Soon, the first with my Sony a6300.
I'll let you know. Thanks a lot!
I'm looking forward, thanks.
Thank you so much.
Always my pleasure.
Great video!
Thanks! Always nice to know my work is appreciated.
I'm kinda bummed that my Sony A7 didn't come stock with SLOG and PP. I wish there was a firmware update for this :(
I wouldn't be particularly upset (after all, they didn't include it on the A9 either). It's not really a make or break feature for me, as there are only a few situations where I'd really use it. It certainly does not magically improve all shots.
Excellent video.. as I have received my 6300 yet. should arrive today or tomorrow. But I am a sony shooter and have the a7rii and a7ii.. I know very little about picture profiles as I shoot raw most times on them cameras. and I believe picture profiles are turned off. With the 6300 now and I will be using it mainly for video and my a7rii for pics.. should I shoot in raw mostly.I will be filming a lot of Fashion shows in darker venues or sometimes with weird stage lighting like reds and blues and flashing lights and things.. what Slog or picture profile would you recommend. what would be idea settings?
+T Rice Thanks for the kind words. RAW is the best format for stills, I don't think you're going to find any value in turning the picture profiles on if you're going to do post-processing, as there's a lot of a latitude in the RAW file for accomplishing in post what picture profiles do in video.
There's a misconception - as picture profiles with Slog (and remember the provided profiles are just examples) require post-processing - that using profiles is equivalent to shooting RAW stills. That's not the case. As I suggested in the video, shooting interiors with reflected light will rarely (unless you're shooting into a light fixture) have a dynamic range above 7-8 which the standard (non Slog) gamma curve handles nicely. So - if your final output is going to a TV, computer or web for playback, shoot with profile 3 or 4 (but consider turning down the detail and possibly saturation) turned down at 30 frames (shutter 1/60 - 1/30). If you're going for a flatter film look, use 5 or 6, again with detail and saturation reduced at 24 frames (same shutter). I actually love the way the sensor reacts to stage lighting - but make sure you set a white balance as the AWB will react and change. I'd probably use autoISO - but that's a judgement call I'll leave to you.
Not sure if you like/use the creative styles for stills (after all they don't modify RAW files), but if you do and have settings you like, these can also be very effective for creating an in-camera look for video.
BTW - colour grading is the same whether you use Slog gamma curves or not - always feel free to make adjustments in post (DaVinci Resolve is excellent and free). Just remember video recordings are 8 bit, so there's not much latitude.
I hope the shoot works out - if you have thoughts or recommendations afterwards, please share.
Hi Maarten
Can you please suggest the best cinematic picture profile, for 4k shooting A6300, in dark conditions? and which is the best VALUE DSLR for 4k SLOG shoot with more flexible ISO settings? A6300 doesn't alow anything under 800...
Regards
All manufacturers force a minimum ISO when using a Log setting, 800 is typical. The A6300 is the best value camera with SLog. For low light, you're best to use one of the cinema gammas, which you select depends on the specifics of the scene.
Thank you so much for the advice. I really appreciate it.
What do you think of 4k LOG of GH5 and A7S Mark 2 in Dark conditions?
Kind Regards
Always my pleasure. Log profiles are not designed for low light situations. They will further compress the already limited range. See here: ruclips.net/video/1P8pIKYBmP0/видео.html
Thank you so much Maarten. Your videros and advice are always very useful.
Can you please suggest, which of these cameras are overall better, in terms of picture quality and image stabilization etc. GH5, A7S Mark 2 or A6500? Really sorry to trouble you again.
Thanks for the kind words. I'm not sure I like the stabilization much in any of these - you'll still need either a very steady hand, a tripod or gimbal to get smooth movement. I have not done side-by-side comparisons, but would judge image quality to be roughly similar and likely more dependent on lens and lighting than camera.
hello. very informative video. for wildlife, which pp would You recommand ? number 3(natural) ? thank You
+Regis H Thanks for the kind words. If you're going to be viewing on a computer or TV set, yes 3 (or 4) would be a good choice (along with 30fps and 1/60 shutter). On the other hand, if you're shooting against a bright sky, that would be the perfect time to use 7 to take advantage of the wider dynamic range - as long as you're prepared to do the colour correction (grading) in post. Experimentation is key, each situation has its own best settings.
May I ask you one question for the picture profile for the sLog pp7, pp8, pp9, under the video manual shooting mode. I have turned on the zebra and peaking for manual shooting. But the zebra and Peaking is not working in this picture profile. is it normal and how can I deal with this.
I'm not sure why it's not working for you - it should. You'll have to turn the gain (ISO) up extraordinarily high to get any zebra action (so I'm not sure it provides a useful function) but it does appear. Exposure with SLog is tricky - I'd really recommend that you use the histogram (or possibly an external monitor with a waveform) to more accurately judge overall levels and note that they would typically be in the 25-75 range, not the full 0-100.
Not sure why your peaking isn't working. I'd recommend that you use the focus magnifier, which I prefer as a focus assist. I often find that peaking lacks accuracy.
I know my problem now, my ISO is only 800, that is the least setting??? (min. setting for SLog, Lower than 800 are dimmed... ) In just like as you say the range is 25-75 , when I set my zebra to 75 as the high light. Then Zebra works and show up too. or I set up the iso to 2500, then it show up too, if the zebra set in 100. Just like you say, the range is different with normal setting. It is better use a waveform or histogram to check. but you know it is only suitable for the external recorder with monitor to handle it. It will not as handy as just the camera. can we use other way to check the exposure, besides just rely on the built in exposure reading on the monitor, which the range is only -2 to +2 stop, very limited for manual lenses. Do you think is this possible to use the waveform to calibrate our third party light meter to fit the Slog profile.
Or just expose +1 - +2 stop over every time when we use the Slog profile. (I have read some editorial talking about the exposure on the Slog).And my case is suit what you said.
Anyway thank you for your help. the Peaking is OK now, when I set it in high or middle.
The SLog default is 800 - it really is a matter of learning which settings work for your situation, and seeing how you will restore or conform the footage for final output.
Thank you for video. If i use external monitor with no 3D lut support, but I turn on in-camera S-log to Rec709 display setting will it be transferred via HMDI to my monitor?
It will not. The HDMI feed is the same as recorded on the camera. Most (good) monitors have their own LUTs.
Your talking have a bit of Morgan Freeman vibe to it that I can listen to you for hours haha. I know you said that only use Slog for high dynamic range situations like outdoor, but would there be any advantage of using it indoor with little daylight and default room light over say PP6?
I find that PP6 is very good for indoor, but wondering if Slog 3 would do better in that situation? (but often has to go to ISO 6000 for good exposure)
+Jason Lam Wow! Thats a comparison I never expected to read. Thank you very much! If all the light in a scene is reflected (which means it has a limited dynamic range already) Slog will reduce the quality of the image - although it may provide a look you like. If the interior has a window (and in school we were taught to avoid windows like the plague, and while on-location with shoots we often used to cover the windows with ND film) I might use Slog to overcome the brightness of the exterior (which otherwise looks totally blown out). PP6, although noisy, particularly on the A6300 does a better job of giving some depth and quality to the darkest part (the lowest 20% on a waveform) of an image. I'm working on a A7S II to A6300 comparison that demonstrates this.
None of my comments should be interpreted as a disincentive to try for yourself, and then sharing your learnings - that is all that I'm doing. This is new territory for most of us, we're all in trial (and error) mode, and there is no right or wrong.
@@MaartenHeilbron Mr. Heilbron, may I ask what Profile is better for shooting video in low-light, OUTSIDE, in the city, at night?
@@SocietateaAscendenta You may ask, and I'm glad you did. However, the answer, without being there and seeing the scene is hard to provide. First, don't think of profiles, but rather the settings within the profiles. While looking at the scene (using any profile) select from cine1-4 for the one that gives you the results you prefer - fewer overexposed highlights, or more detail in black areas will emerge as you try each.
For the color setting, I would use Pro, and then my preference for saturation is lower than Sony's, so I turn that down and I also turn down the detail, I don't like my images as crisp as Sony does. However, these are my personal preferences, and you should find the settings the reveal the image that best represents the story you're telling, or mood you're capturing. Hope this helps.
is all this information just relevant if you are shooting 4k if you are shooting 1080 will Cine 4 be ok.
The settings apply regardless of the recording format.
Hi Maarten, thanks for the videos you make. They’re great.
I’m stuck though. I often use the A6300 for property video and property photography. Will it automatically apply whatever picture profile I choose for video to my photographs?
Ideally I’d use one pic profile for movies and another for photographs but it seems to apply the same one to both.
Thanks, I appreciate the kind words.
Unfortunately in the A6300 there's no distinction between stills and video mode, so the same profile applies to both - if you want to use different picture profiles, you'll have to switch them as you switch modes.
@@MaartenHeilbron Thanks for confirming that, Maarten. I've been using the camera for over a year now and I just realised it was doing that. I suppose the RAW images will not be impacted by the picture profile...
Always happy to help. Yes, RAW images are free of interference from those settings as well as white balance and other colour adjustment controls.
Thanks for your video) you deserve far more subscribers)) GL
+Антон «ФОТОТОХА» Забельский That's very kind of you. More subscribers are appearing every day, but I'm not measuring my success by subscribers.
Does dynamic range mean exposure balance in videos/photos? So does Slog 2 and 3 help see dark areas and make bright things less bright?
Good question - and my apologies for using terms that could use some definition in advance. By "dynamic range" I mean the range from the darkest object to the brightest object in the scene" - in the video I use Fstops or exposure value to demonstrate that range. Exposure balance (and that's a good term I should use more often) is the use of the various exposure tools provided by the camera to constrain the dynamic range to fit within the capabilities of the sensor.
In my understanding, Slog2 (and even more dramatically in Slog3) act primarily on the brightest areas, by reducing the range at the bright end from a linear response to a flatter (logarithmic) response. This then, ask per your question, does both. The sensor can capture a dynamic range that is less than what is provided in scenes illuminated by the sun. By reducing the range of bright objects (sun, sky, light objects illuminated by the sun) a larger range can be accommodated, as a result the exposure balance can be shifted down without overexposing the brightest objects. This enables a wider dynamic range
I feel that I should go on to say that the exposure balance created or imposed by Slog response curves does not coincide with our natural visual experience (what I mean when I say the look "flat"). Nor does our natural visual experience coincide with a typical monitor's (based on ITIU 709) dynamic range. Using LUTs, or colour grading, is an attempt to find the right balance for viewers of the final scene.
I hope this helps, thanks for helping me find another way to express this - I may think this through further for another video on the topic.
Dlaczego w filmie, nie mogę włączyć automatyczne podpisy? Czy masz wyłączony je celowo, czy jest inna przyczyna? Chciałbym, aby włączyć automatyczne tłumaczenie, ale nie jestem z tobą. :(
Nie pozwoliły dowolne ustawienie w celu powstrzymania napisy zamknięte lub tłumaczenia. Ja nawet nie wiem, czy tam jest takie ustawienie, a ja po prostu sprawdza się upewnić. Przykro mi, że nie działa. Czy to działa na innych moich filmów?
I wrote in this regard also to Google and now I see that the subtitles appeared :)
Glad to hear that they're now available.
Very Very Well, I tested this
+Pier Giorgio Zuccaro Thanks. What were your test results or conclusions?
+Maarten Heilbron Good morning, your monster video test a "world" again for those resumes with videos. What I saw is technically outstanding and your setup is simple and effective. Only one thing I could check, if you make video "Slowmotion" you can only use 4K HD and not, in addition to this there is a limitation of the speed PAL, NTSC and 4x max you can choose. So it's not easy to choose because they switch between PAL and NTSC you must format the card every time, and our present system in the EU is PAL ...
For Range Auto, I guessed it was the best setUp
Only one thing to shoot video with these "high definition systems" deals with plenty of memory, about 2 minutes in 4K = 700 mb !!! (WoW)
See you soon
***** Good morning, your monster video test a "world" again for those resumes with videos. What I saw is technically outstanding and your setup is simple and effective. Only one thing I could check, if you make video "Slowmotion" you can only use 4K HD and not, in addition to this there is a limitation of the speed PAL, NTSC and 4x max you can choose. So it's not easy to choose because they switch between PAL and NTSC you must format the card every time, and our present system in the EU is PAL ...
For Range Auto, I guessed it was the best setUp
Only one thing to shoot video with these "high definition systems" deals with plenty of memory, about 2 minutes in 4K = 700 mb !!! (WoW)
See you soon
+Pier Giorgio Zuccaro Thanks for your thoughts. Yes, large capacity (and high speed) memory cards are needed for 4K. The high speed 120frame mode (needs to be slowed in post) is only available in 1080. In PAL mode, the high speed mode is 100 frames.
In HFR (the lower quality, no audio, but in camera playback available mode) even if the record setting is 4K, the file is 1080. And although both 24 and 30 frame modes are available in NTSC, only 25 in PAL.
I appreciate that the TV system in Europe is PAL - but unless you're playing directly from the camera to a TV, that isn't an issue (is it?) all digital devices (computers, tablets, phones) don't care.
Ciao.
+ Maarten Heilbron Well, true
Thank you!
I appreciate your kind words.
@@MaartenHeilbron Was thinking about selling the cam and buying something new..Saw your video and realised that there's still a ton of things for me to explore! You're a master in bringing clarity. Pls continue ☺️
@@siddharth_r1 Always nice to know that my work is appreciated - thanks for commenting.
thanks!!
My pleasure.
Hi Maarten
I got an A6300. I have tried shooting on SLOG2 but it doesn't let me set the ISO under 800 and we get a lot of video noise because of that, while shooting in the evening or night... Any idea how to handle that problem???
Yes, the minimum ISO with SLog2 on the A6300 is 800. Why would you use it in a situation like that? It's only useful in bright situations, otherwise you are compressing what little dynamic range you have. Try this: ruclips.net/video/1P8pIKYBmP0/видео.html
Thank you so much Maarten. It's a very useful tutorial. And yes I will use PP1 in future, if need to shoot in darker conditions. Thank you again.
Always my pleasure - don't just select PP1 - try the various Cine gamma options to see which is best for the scene.
Sure, I will. Many thanks again...
I'm always happy to help.
I own this camera now and would be an idiot not to sub to your channel; you've such helpful information on here!
Your kind words are appreciated, thanks for commenting.
with the Sandisk extreme pro can i record 4k and 120fps 1080 at 100M with the Sony a6300?
Any card that has the U3 designation (the Extreme Pro does) can record the 100M modes.
If this didn't overheat, and if I could shoot longer videos, this would be the totally perfect 4K camera.
+cuckoomusic The perfect enthusiast 4K camera possibly - I've seen some pro reviewers who are finding fault. And I have a few issues myself. Longer videos are best accomplished by adding an Atomos recorder. I've been able to run out the battery (about 1hr15) recording on the Shogun without overheating the camera. Using USB power, I'm sure you could run out the disk space on the Shogun. I've also been a little more careful about how I use the camera, and recently had a full day of recording interviews at an equestrian event. By keeping the camera turned off until as much as possible, I didn't see the overheat icon once - but these were interviews in the 3-5 minute range.
***** Ok, that's good to hear. Perhaps weather and sunlight is just as an important factor for overheating as any other factor. I still haven't used an external recorder for anything. But I have been thinking about Blackmagic's video assist. But it only records in HD. Is the HDMI signal as clean as the internal recording?
+cuckoomusic Those maybe factors, but even inside at 21C, it will overheat after about 33 mins of recording (if I start again immediately after the first 2950 ends). And turn off before 40 mins. No experience with the Blackmagic, but yes, the HDMI signal is as clean as (or better as it's not compressed) than the internal recording. Then it depends on the codec/compression in your recorder.
Does the picture profile limit the frame rate? You mention that if you want a cinematic look at 24 frames use Profile 4 and 6. Can you shoot at a higher frame rate on those profiles?
+Aidan Van Alstyne Other than the 800 ISO, there are no limitations - I'm just mentioning 24fps as that's part of the "cinematic look" formula.
+Maarten Heilbron oh okay, thanks!
+Aidan Van Alstyne It's my pleasure.
Hi Maarten, what's your best opinion for a picture profile when shooting a professional commercial?
First, remember that the profiles are presets, and that you have dozens of options and settings that can be adjusted. I don't know if you're shooting indoors or outdoors, what the scene or scenario is, what mood or tone you're trying to create, how much lighting crew and equipment you have nor do I understand what your clients expectations are. However, as general guidance, I would adjust profile one to use one of the cine gammas (you'll have to see by eye which provides the best results for the scene, and whether you want to emphasize dark or light areas. Then I'd use the pro colour setting. For people, I tend to turn the detail down (I don't like the crispy look of video) and depending on the tone, I might turn down the saturation slightly to my taste (again, not a fan of the highly saturated video look).
Hope this helps.
@@MaartenHeilbron this more than helps! I'm glad you took the time to provide this answer. I've just been struggling with some of my videos (shot in SLOG 2) either looking too washed out even after saturation increase in post, or too dark after I adjust my exposure. I'm trying to get "near true to color" results, however I guess I also have to adjust how I expose my footage when I shoot and my additional lighting setup
Unless you really have a wide dynamic range - and the dynamic range is essential to the shot - don't use the log settings. As you correctly observe, they reduce the dynamic range and considering the low data rate, bit depth and chroma subsampling of the A6300 you won't be able to recover that in post. Log makes sense with RAW, not here.
Hey! lov ur vids! which it's the best and less noise profile pic to use on low light (like in a night club)?
greetings from Argentina :D
Hey Argentina, always nice to hear from my friends there. On the A6300, I would use PP5, but change the gamma to cine2. Depending on what you’re recording - you would get less noise (and a lower ISO) by using 1/30 instead of 1/60. Of course, keep you aperture as wide as possible.
Maarten Heilbron hey, i have a question, which SD Card i need to be able to shoot in 1080p 120p and 4k?
SDXC, class 10 should do it, but U3 would be better.
Maarten Heilbron with the Sandisk extreme pro can i record 4k and 120fps 1080 at 100M ?
Yes - any card with the U3 designation.
What would be the best setting for allround purpose for someone who doesn't know much about video?
And no time to fiddle too much.
+Pieter Batenburg For video on the A6300, turn the dial to video mode. I would shoot in XAVC-S HD (4K only if you can handle it for editing and have a 4K TV). 30p50M (60m in 4K). Use the M video mode with autoISO, 1/60 (1/30 inside) and aperture as wide as possible (you may need to close it outside, or use an ND filter). Adjust the EV dial to finalize exposure, use zebra to guide (the meter is not accurate enough), either highlights at 105 (there shouldn't be any zebra stripes on screen) or white skin at 70% (stripes on faces). Use face detection for focus - the camera defaults to AFC in video mode). Assign zebra to the Fn menu so it's easy to turn on and off.
Set the white balance according to conditions or custom (AutoWB drifts slightly, making edits more difficult). If you're using manual focus instead - use a custom button (I use 1) for expanded focus view to check and set focus. Set the AF/MF button to AF On, so you can auto focus in manual.
Turn clear image zoom on, and assign zoom to a custom button (I use 2) for easier access. Turn the camera off as often as you can to reduce overheating. And this may be black magic, but I also open all the port doors and pull the LCD as far away from the body as I can. Shoot using the viewfinder, it will make your shots steadier.
I think that's it, hopefully it's not overwhelming, I should probably record all that as a video ...
+Pieter Batenburg After reading the excellent review of the A6300 at dpreview, who were very disappointed with the HD video quality compared to 4K, I thinking I should update my advice. Likely, it's better to shoot in 4K and down-res in editing, unless that will cause you grief at some level (new memory card, storage and editing requirements, video processing and time). Best wishes.
No, I like 4k. I made some short videos. They are on my youtube channel. If you click on my name, you can find them. Thanks for the elaborate answer.
+Pieter Batenburg Very good, I hope that's the information you're looking for - happy to provide more details, and thanks for the question, I think it will make an interesting video. There seems to be lots of demand for A6300 videos on youtube.
Sony = Best Company
+RainerReinfall Although I do have a great deal of respect for Sony, covering both their traditions as well as their innovative spirit, that statement feels slightly over the top. They've certainly had their share of challenges recently.
For me It's also a piece of history :)
+RainerReinfall Of course, I have many memorable Sony products - from the original Walkman, CD player and even an Elcassett. They've certainly been an important part of my technology history.
Genio!
Thanks for the kind word.
I hope you're having "Fun" with the "Fn" button 😋.
+Marth Thanks! It's the only way to go. I didn't use it here, but I'll use it in the full A6300 review.
+Maarten Heilbron Looking forward to it.
thanks, but a little technical for people who doesn't have any background
Always my pleasure. I understand, it is a technical subject.
it's fun to watch your video.
I appreciate the kind words, thanks.