Scroll down to where it says “Stunning Cinematic Colour” and there you will find a video called “Orlaith” that shows both LUT’s applied to the same footage.
Orlaith is a gaelic name and it is pronounced “orla”. It is the name of a mythical golden princess. The short film was shot on a teeny-tiny budget in a single evening with an FX3 and FX6 using S-Log3 and SGamut3.cine. Then the LUTs were applied directly to the footage with no further grading.
Most of sony’s cameras that support S-Log3 or Hybrid Log Gamma also have a function called Viewfinder Display Gamma Assist.
Viewfinder Display Gamma Assist allows you to monitor with the cameras built in LCD screen or viewfinder with the correct brightness and contrast range when using gamma curves that are not directly compatible with these Rec-709 screens.
Whenever you try to view a gamma curve that is not normal Rec-709 on a Rec-709 screen the brightness and contrast that you will see will be incorrect. The most common scenario is perhaps viewing S-Log3 without any form of LUT. In this case the images will look less bright and have less contrast than they should and this makes judging exposure difficult and as well as making it less easy to see focus errors.
With a camera like the FX6 or FX9 most people will use the cameras CineEI mode and add a LUT to the viewfinder image to convert the S-Log3 to something that looks more contrasty and on the FX6 and FX9 the default LUT is “s709”. However s709 is not the same thing as Rec-709.
I think a lot of people think that the default s709 LUT is the same as Rec-709, it’s not, it is very different. They look very different and result in quite different brightness levels when exposed correctly. s709 when exposed correctly will put skin tones somewhere around 50-60% and white at 78%. If you expose s709 using normal Rec-709 brightness levels (70% skintones, 90% white) this is actually over exposed by just over 1 stop. As a result if you expose the s709 LUT, using Rec-709 levels, and then turn off the LUT and instead use Viewfinder Gamma Assist, the gamma assist will look wrong, it will be too bright and may look washed out and this is simply because the exposure IS wrong.
Almost always, if the viewfinder display gamma assist looks wrong, the exposure is wrong. When it looks right, the likelihood is the exposure is right.
A few things to understand:
The viewfinder is a Rec-709 range display device only capable of showing Rec-709 range and colour.
Feed true Rec-709 to a Rec-709 device and you will have a correct looking image with “normal” brightness, contrast and colour.
Feed S-Log3 to a Rec-709 device and you will have an incorrect dull, flat looking image due to the gamma miss-match between the capture gamma and display gamma.
Feed S-Log3 to a device with S-Log3 gamma and you will once again have the correct brightness and contrast as there is no longer a gamma miss-match (S-Log3 only appears to be flat due to the gamma missmatch between S-Log3 and Rec-709, use the right gamma and you will see that it is not actually flat).
Viewfinder Display Gamma Assist works by changing the gamma curve used in the Viewfinder to a gamma curve similar to S-Log3. When you view S-Log3 with S-Log3 gamma you will have the correct contrast and brightness, so correct exposure will look correct.
But because the cameras LCD display screen can only show 6 to 7 stops you don’t get the full S-Log3 viewing range, just the central mid range part that is the direct equivalent of Rec-709. This very closely matches what you see if you use the Sony 709(800) LUT to convert the S-log3 to 709. The 709(800) LUT converts S-Log2 or S-Log3 to vanilla Rec-709 (70% skintones/90% white) with a knee that provides a slightly extended highlight range. It is broadly comparable to how most conventional Rec-709 cameras will look. So as a result viewfinder display gamma assist and Sony’s 709(800) LUT’s will look almost identical, while the s709 LUT will (and should by design) look different.
Viewfinder Display Gamma Assist is extremely useful for scenarios where you do not have a LUT option. It can help you make good exposure assessments. It can make it easier to see when you are in focus. But it isn’t a LUT, so can’t be applied to the cameras outputs, only the built in viewfinder. Additionally if you use zebras, the waveform or histogram, gamma assist has no effect on these so you must remember that you are still measuring the levels f the actual recording gamma, not Rec-709 levels.
Viewfinder Gamma Assist is useful not only for shooting with S-Log but also when shooting using HLG (Hybrid Log Gamma). HLG is an HDR gamma curve and because the LCD viewfinder isn’t HDR you can’t correctly monitor HLG directly. Viewfinder Gamma Assist allows you to monitor with the correct brightness and contrast when shooting HLG making it easier to confidently get the correct exposure levels, as much like S-log3 the levels required for the correct exposure of HLG are quite different to Rec-709.
One last thing: NEVER use Viewfinder Gamma Assist with a LUT at the same time, this will result in a completely incorrect looking image and could result in very bad exposure as a result.
It’s no secret that the variable ND fitted to many Sony cameras does introduce a colour shift that changes depending on how much ND you use. But the cameras are setup to add an offset to the WB as you switch the ND in or out and change the amount of ND, so in practice most people are completely unaware of this shift.
If you watch carefully when you engage or disengage the ND you can sometimes see a fraction of a second where the cameras electronic offset that corrects for the shift is applied just as the filter comes in. Then once the filter is in place the colours appear completely normal again.
So when should you white balance from a white card? With or without the ND filter in place?
You can actually white balance either with or without the ND in place. Because the camera knows exactly what offset to apply for any ND value if you change the ND it will compensate automatically and generally the compensation is very accurate. So in most cases it doesn’t really matter whether the ND filter is in place or not.
However, my personal recommendation is where possible to white balance with the camera setup as it will be when you are taking your footage. This should then eliminate any small errors or differences that may creep in if you do change the ND or switch the ND in or out.
But I wouldn’t be too concerned if you do have to do a WB at one ND level and then change the ND for whatever reason. The in camera compensation is extremely good and you would only ever really be able to see any difference if you start doing careful like for like, side by side, split screen direct comparisons. It’s certainly highly unlikely that you or your audience would ever notice any difference in normal real world applications.
You will often see greater colour shifts if you add external ND filters or swap between different lenses, so treat the internal ND as you would any other ND filter and WB with your lens, filters and everything else as it will be when taking the footage. I think one of the truly remarkable things about the variable ND filter is just how consistent the output of the camera is across such a wide range of ND.
Can you tell which is genuine and which is fake? It would appear that a number of fake BP-U batteries are starting to show up on ebay and other less reputable places. The battery on the left won’t charge on a genuine Sony charger, this tells me it is not a real Sony battery.
If you look at the labels on the batteries the quality of the printing on the fake battery on the left is not as fine as on the genuine battery, in particular the ® as well as the box around the level indicator LED’s is not as crisply and finely printed.
The sellers are clever. These are not so cheap as to raise suspicion, they just seem very competitively priced. These batteries might be a little bit cheaper, but how safe are they and how long will they last? I have to say this would have fooled me and I have a lot of sympathy for others that have been tricked into buying these. But if the manufacturer can’t sell these by legitimate means under their own brand name I really do have to question their quality and safety.
This is a question that comes up a lot. Especially from those migrating to a camera with a CineEI mode from a camera without one. It perhaps isn’t obvious why you would want to use a shooting mode that has no way of adding gain to the recordings.
If using the CineEI mode shooting S-log3 at the base ISO, with no offsets or anything else then there is very little difference between what you record in Custom mode at the base ISO and CineEI at the base EI.
But we have to think about what the CineEI mode is all about. It’s all about image quality. You would normally chose to shoot S-Log3 when you want to get the highest possible quality image and CineEI is all about quality.
The CineEI mode allows you to view via your footage via a LUT so that you can get an appreciation of how the footage will look after grading. Also when monitoring and exposing via the LUT because the dynamic range of the LUT is narrower, your exposure will be more accurate and consistent because bad exposure looks more obviously bad. This makes grading easier. One of the keys to easy grading is consistent footage, footage where the exposure is shifting or the colours changing (don’t use ATW with Log!!) can be very hard to grade.
Then once you are comfortable exposing via a LUT you can start to think about using EI offsets to make the LUT brighter or darker. When the LUT is darker you open the aperture or reduce the ND to return the LUT to a normal looking image and vice versa with a brighter LUT. This then changes the brightness of the S-log3 recordings and you use this offsetting process to shift the highlight/shadow range as well as noise levels to suit the types of scenes you are shooting. Using a low EI (which makes the LUT darker) plus correct LUT exposure (the darker LUT will make you open the aperture to compensate) will result in a brighter recording which will improve the shadow details and textures that are recorded and thus can be seen in the shadow areas. At the same time however that brighter exposure will reduce the highlight range by a similar amount to the increase in the shadow range. And no matter what the offset, you always record at the cameras full dynamic range.
I think what people misunderstand about CineEI is that it’s there to allow you to get the best possible, highly controlled images from the camera. Getting the best out of any camera requires appropriate and sufficient light levels. CineEI is not designed or intended to be a replacement for adding gain or shooting at high recording ISOs where the images will be already compromised by noise and lowered dynamic range.
CineEI exists so that when you have enough light to really make the camera perform well you can make those decisions over noise v highlights v shadows to get the absolute best “negative” with consistent and accurate exposure to take into post production. It is also the only possible way you can shoot when using raw as raw recordings are straight from the sensor and never have extra gain added in camera.
Getting that noise/shadow/highlight balance exactly right, along with good exposure is far more important than the use of external recorders or fatter codecs. You will only ever really benefit fully from higher quality codecs if what you are recording is as good as it can be to start with. The limits as to what you can do in post production are tied to image noise no matter what codec or recording format you use. So get that bit right and everything else gets much easier and the end result much better. And that’s what CineEI gives you great control over.
When using CineEI or S-Log3 in general you need to stop thinking “video camera – slap in a load if gain if its dark” and think “film camera – if its too dark I need more light”. The whole point of using log is to get the best possible image quality, not shooting with insufficient light and a load of gain and noise. It requires a different approach and completely different way of thinking, much more in line with the way someone shooting on film would work.
What surprises me is the eagerness to adopt shutter angles and ISO ratings for electronic video cameras because they sound cool but less desire to adopt a film style approach to exposure based on getting the very best from the sensor. In reality a video sensor is the equivalent of a single sensitivity film stock. When a camera has dual ISO then it is like having a camera that takes two different film stocks. Adding gain or raising the ISO away from the base sensitivity in custom mode is a big compromise that can never be undone. It adds noise and decreases the dynamic range. Sometimes it is necessary, but don’t confuse that necessity with getting the very best that you can from the camera.
I wish to update and present the facts that I have regarding potential issues with mainly older 3rd party PB-U batteries. This isn’t here as a scare story, I’m not trying to sensationalise this, just present the facts that I have to hopefully clarify the current situation.
In 2019 I became aware that it was suddenly becoming very hard to buy 3rd party BP-U batteries. Dealers didn’t have any and you couldn’t find them anywhere. Talking to a couple of manufacturers I was informed that they had been told to stop making BP-U batteries.
Then I learnt from Sony that they had been getting an unusually large number of cameras in for repair, cameras that had suddenly and inexplicably stopped working. This they had traced to design issues in some 3rd party batteries.
As a result of this Sony took action in 2019 to prevent the manufacture of 3rd party BP-U batteries and that’s why you could no longer get them.
Since then however it would appear that the manufacture of 3rd party batteries is once again in full swing. In addition I’ve noticed that some older models have been discontinued, often with new versions replacing them, perhaps a “B” version or a model number numerically higher than before.
From this I must assume that whatever the issue was, it has now been resolved and that the 3rd party BP-U batteries on sale today should be perfectly safe to use with our cameras. I would have no hesitation in today buying a brand new BP-U battery from any of the reputable brands.
I have nothing to gain here. This is not a campaign to make you all buy Sony batteries. Even though Sony do make a very fine battery, I too use 3rd party batteries as I need the D-Tap port found only on 3rd party batteries.
But clearly there was a very real battery issue. I’m led to understand that the cost to repair these damaged cameras was over $1K. While not every user of these batteries ends up with a dead camera, I think you have to ask yourself – is it worth using batteries made in 2019 or earlier? I won’t list the batteries that I know to have problems because the list may be incomplete. Just because a battery is not on the list it would not be a guarantee that it’s safe. However if any 3rd party battery manufacturer is reading this and has the confidence to provide me with a list of batteries that they will guarantee are safe, I will gladly publish that.
Clearly not everyone ends up with a dead camera, perhaps the majority have no issue, but enough did that Sony had to take action and it appears that the manufacturers responded by checking and adjusting their designs if necessary.
So my advice is: Don’t use 3rd party batteries made prior to 2020.
If you do, then make absolutely sure the camera is completely powered down when inserting or removing the battery.
I believe that any BP-U battery made in 2020 or later should be safe to use. So please think about replacing any old batteries with new ones, or perhaps contact your battery supplier and ask if what you have is safe. However you should be aware that since 2019 Sony’s own BP-U battery chargers will no longer charge 3rd party batteries.
The information I have presented here is correct to the best of my knowledge and I hope you will use it to make your own decision about which batteries to use.
With the new FX6 making use of SD cards to record higher bit rate codecs the number of gigabytes of SD card media that many user will will be getting through is going to be pretty high. The more gigabytes of memory that you use, the more the chance of coming across a duff memory cell somewhere on your media.
Normally solid state media will avoid using any defective memory areas. As a card ages and is used more, more cells will become defective and the card will identify these and it should avoid them next time. This is all normal, until eventually the memory cell failure rate gets too high and the card becomes unusable – typically after hundreds or even thousands of cycles.
However – the card needs to discover where any less than perfect memory cells are and there is a chance that some of the these duff cells could remain undiscovered in a card that’s never been completely filled before. I very much doubt that every SD card sold is tested to its full capacity, the vast volume of cards made and time involved makes this unlikely.
For this reason I recommend that you consider testing any new SD cards using software such as H2Testw for windows machines or SDSpeed for Mac’s. However be warned to fully test a large card can take a very, very long time.
As an alternative you could simply place the card in the camera and record on it until its full. Use the highest frame rate and largest codec the card will support to fill the card as quickly as possible. I would break the recording up into a few chunks. Once the recording has finished check for corruption by playing the clips back using Catalyst Browse or your chosen edit software.
This may seem like a lot of extra work, but I think it’s worth it for piece of mind before you use your new media on an important job.
Here’s a new LUT for you, inspired by a the look of the Netfix show “the Queen’s Gambit. I’ve called the LUT “Chess”. It’s designed for use with S-Log3 and SGamut3.cine and I think it works really well with most Sony S-Log3 capable cameras including the FX6, FX9, FS7, FS5, F5 and F55 etc. As well as Sony’s video cameras it will also work with the A7SIII and other Sony Alpha cameras.
In the download you will find 2 LUTs. The 65x version is for post production and grading, the 33x version is for use as a camera LUT. While I have aimed to replicate much of the look of the TV series it must be noted that grading is only a small part of the look. Set design, the colour of the sets and costume also play a significant roll.
If you find this LUT useful please consider buying me a cocktail or other beverage. Thank you! It does take a while to develop these LUT’s and contributions are a good incentive for me to create more!
Timed to coincide with the release of the ILME-FX6 camcorder Sony have updated both Catalyst Browse and Catalyst Prepare. These new and long awaited versions add support for the FX6’s rotation metadata and clip flag metadata as well as numerous bug fixes. It should be noted that for the correct operation that a GPU that supports OpenGL is required. Also while the new versions support MacOS Catalina there is no official support for Big Sur. Catalyst Browse is free while Catalyst Prepare is not free. Prepare can perform more complex batch processing of files, checksum and file verification, per-clip adjustments as well as other additional features.
The Sony FX6 does not have the same Hypergammas or Cinegammas as found in many other Sony camcorders. However you can load a LUT as a base look in the cameras Custom Mode. See this post for details about this.
So I have prepared a set of LUTs that mimic the Sony Hypergammas with rec709 colour. These LUTs are for S-Log3/SGamut3.cine as used as the base input in the FX6. HG1 and HG2 are broadcast safe so these give you a broadcast ready option for the FX6. In addition to the Hypergamma LUT’s there is an additional ACBCST LUT. This is a broadcast safe version of the Sony s709 LUT with added contrast and saturation, suitable for broadcast and other direct to air applications.
As well as the FX6 these LUT’s will also work with any Sony camera that accepts LUTs and has S-Log3 and SGamut3.cine. They can also be used in post production.
If you find these LUT’s useful please consider buying me a coffee. Thank you!