S-Cinetone is a combination of both a gamma curve and colour matrix. So you can mix different gammas with the S-Cinetone matrix to get the same colour palette but with different contrast and brightness ranges.
The FX9’s default gamma curve is labelled “original” in the camera’s paint settings. This gamma curve is the closest to the look that the s709 “Venice” LUT provides. One important thing to note about this gamma curve is that it records using full range, so it can exceed 100% and goes all the way up to 109%. This means that it may not be suitable for some broadcast applications where the footage will go direct to air without any grading or post production adjustment.
If you do need a broadcast safe output then you should consider using Hypergamma 1 with the S-Cinetone matrix. The look is very similar to the original matrix, but Hypergamma 1 never exceeds 100% so it is “broadcast safe”.
One thought on “Broadcast safe and direct to air using S-CinEtone and the FX9”
I love your updates on using the camera. This is how I was hoping they would configure the new look with separate gamma and matrix components . It sounds like I can match the S-Cinetone Matrix with any of the gammas I was used to in the FS7. Can I also match my own User created Matrix with the new “original gamma” which you are describing as close to the s709 Venice LUT?
Will this be a gamma that is roughly similar in DR to what we got by burning in a 709A LUT on the FS7?
Tomorrow I will finally get a chance to see and hopefully play with an FX9 as part of the Sony FX9 road show. Anything you suggest I look at in particular?
I would like to get a chance to see if I can get a match with my FS7 & your Venice LUT but I don’t know that they’ll let me set mine up .