The α6300 is the flagship APS-C mirrorless interchangeable-lens camera from Sony featuring the world's fastest 0.05-s AF with the most phase-detection AF points (425), Exmor® CMOS sensor with 24.2 effective megapixels, extra-wide ISO 100-51200 sensitivity range, enhanced 4K movie recording, and XGA OLED Tru-Finder™. This cine LUT offers a stunning deep color vintage feel to your Sony Cine profile footage. You can easily apply this LUT within Premiere CC or After Effects with Lumetri. Check out the LUT in use on my channel here: NOTE: This LUT works best with Sony Cine profile footage (a6300 / a6500 / a7s). Don't forget to LIKE, SHARE, and Subscribe! This is a quick Slog2 Color Grade that I shot this week between shoots, so I didn't have much time.
Sony A6300 Review
Using Picture Profile presets with S-Log
When shooting in S-Log, use Picture Profile presets PP7, PP8, or PP9.
The PP7 preset combines S-Gamut and S-Log2, while PP8 is S-Gamut3.cine/S-Log3 and PP9 is S-Gamut3/S-Log3. Here, select PP7 (S-Gamut/S-Log2) and leave the preset details as-is. A distinction of this Picture Profile, intended for subsequent color grading, is a gamma broad enough for movie production.
Camera setting and types of Picture Profiles
MENU → (Camera Settings) → [Picture Profile] → desired setting.
- PP1:
- Example setting using [Movie] gamma
- PP2:
- Example setting using [Still] gamma
- PP3:
- Example setting of natural color tone using the [ITU709] gamma
- PP4:
- Example setting of a color tone faithful to the ITU709 standard
- PP5:
- Example setting using [Cine1] gamma
- PP6:
- Example setting using [Cine2] gamma
- PP7:
- Example setting using [S-Log2] gamma
- PP8:
- Example setting using the [S-Log3] gamma and the [S-Gamut3.Cine] under [Color Mode].
- PP9:
- Example setting using the [S-Log3] gamma and the [S-Gamut3] under [Color Mode].
- PP10:
- Example setting for recording HDR movies using [HLG2] gamma.
- Learn more
Sony A6300 Used
Why Log video looks faded and low-contrast
Often, gamuts used in professional video applications conform to ITU-R BT.709 (Rec. 709), established for HDTVs. This is illustrated below.
Here, the curved color space represents the range of human vision. The gamut of Rec. 709 is much narrower. In contrast, it is easy to appreciate how much broader S-Gamuts used in S-Log recording are.
When viewed on a screen designed for Rec. 709, Log video lacks contrast because the screen cannot display the full gamut.
The ITU-R BT.2020 gamut outlined in green can be reproduced by 4K equipment. This shows how much broader your creative palette is in 4K than in HD.
Appearance of S-Log2 video on a Rec. 709 screen
Easily reproducing colors on Rec. 709 screens with 3D LUTs
Optimal display of Log video on Rec. 709 screens requires color grading, when you will use lookup tables (LUTs). This conversion prepares the material for display on Rec. 709 screens.
Unlike 1D LUTs, which mainly adjust luminance, 3D LUTs control hue, saturation, and brightness of each RGB color. LUTs simplify color grading, because without them, instant S-Log video display matching the gamut of Rec. 709 screens would be difficult as you adjust tone curves, hue, saturation, and other details two-dimensionally.
When ILCE-7SM3 has recorded movies in the [S-Log3] gamma and S-Gamut3.Cine under Color Mode or S-Gamut3 under Color Mode, you can use this LUT. Pc98 fdi download.
Using Gamma Display Assist and external monitors
To make it easier to check S-Log video on a Rec. 709 screen as you shoot, use Gamma Display Assist to apply LUTs. The contrast of viewfinder and monitor display will look as if you were not shooting in S-Log. In this way, Gamma Display Assist enables precise camerawork, whether you are checking subjects or adjusting the focus.
You can also take advantage of LUT-compatible external monitors, which are now more common.
Comparison of using a LUT on an external monitor
This video introduces shooting in S-Log and shows how effective it can be.
When shooting in S-Log, you can choose S-Log2 or S-Log3. Colors are reproduced differently depending on your choice, so use the right option for your workflow.
Using Picture Profile presets with S-Log
When shooting in S-Log, use Picture Profile presets PP7, PP8, or PP9.
The PP7 preset combines S-Gamut and S-Log2, while PP8 is S-Gamut3.cine/S-Log3 and PP9 is S-Gamut3/S-Log3. Here, select PP7 (S-Gamut/S-Log2) and leave the preset details as-is. A distinction of this Picture Profile, intended for subsequent color grading, is a gamma broad enough for movie production.
Camera setting and types of Picture Profiles
MENU → (Camera Settings) → [Picture Profile] → desired setting.
- PP1:
- Example setting using [Movie] gamma
- PP2:
- Example setting using [Still] gamma
- PP3:
- Example setting of natural color tone using the [ITU709] gamma
- PP4:
- Example setting of a color tone faithful to the ITU709 standard
- PP5:
- Example setting using [Cine1] gamma
- PP6:
- Example setting using [Cine2] gamma
- PP7:
- Example setting using [S-Log2] gamma
- PP8:
- Example setting using the [S-Log3] gamma and the [S-Gamut3.Cine] under [Color Mode].
- PP9:
- Example setting using the [S-Log3] gamma and the [S-Gamut3] under [Color Mode].
- PP10:
- Example setting for recording HDR movies using [HLG2] gamma.
- Learn more
Sony A6300 Used
Why Log video looks faded and low-contrast
Often, gamuts used in professional video applications conform to ITU-R BT.709 (Rec. 709), established for HDTVs. This is illustrated below.
Here, the curved color space represents the range of human vision. The gamut of Rec. 709 is much narrower. In contrast, it is easy to appreciate how much broader S-Gamuts used in S-Log recording are.
When viewed on a screen designed for Rec. 709, Log video lacks contrast because the screen cannot display the full gamut.
The ITU-R BT.2020 gamut outlined in green can be reproduced by 4K equipment. This shows how much broader your creative palette is in 4K than in HD.
Appearance of S-Log2 video on a Rec. 709 screen
Easily reproducing colors on Rec. 709 screens with 3D LUTs
Optimal display of Log video on Rec. 709 screens requires color grading, when you will use lookup tables (LUTs). This conversion prepares the material for display on Rec. 709 screens.
Unlike 1D LUTs, which mainly adjust luminance, 3D LUTs control hue, saturation, and brightness of each RGB color. LUTs simplify color grading, because without them, instant S-Log video display matching the gamut of Rec. 709 screens would be difficult as you adjust tone curves, hue, saturation, and other details two-dimensionally.
When ILCE-7SM3 has recorded movies in the [S-Log3] gamma and S-Gamut3.Cine under Color Mode or S-Gamut3 under Color Mode, you can use this LUT. Pc98 fdi download.
Using Gamma Display Assist and external monitors
To make it easier to check S-Log video on a Rec. 709 screen as you shoot, use Gamma Display Assist to apply LUTs. The contrast of viewfinder and monitor display will look as if you were not shooting in S-Log. In this way, Gamma Display Assist enables precise camerawork, whether you are checking subjects or adjusting the focus.
You can also take advantage of LUT-compatible external monitors, which are now more common.
Comparison of using a LUT on an external monitor
This video introduces shooting in S-Log and shows how effective it can be.
When shooting in S-Log, you can choose S-Log2 or S-Log3. Colors are reproduced differently depending on your choice, so use the right option for your workflow.
In this video, you can see how S-Log2 colors differ from those of S-Log3.
