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Just because you like Coke in no way diminishes the fact that I like Pepsi. What looks good to one person might not look good to another, and vice versa. This is where it comes down to personal preference. Who is right and who is wrong? Neither one. And then there are those people on the other side of the fence who claim that building custom Scene Files with the camera’s Paint menus is the best way of achieving a WYSIWYG image. On one side, there are people who swear they can get the best results by recording a LUT, MLUT, or Look Profile (which are really the same thing and so I will just call them MLUTs). But with that said, this is where owner/operators of Sony cameras pretty much divide themselves into two camps. So what are the best WYSIWYG settings? Well, that probably varies from shooting situation to shooting situation. In other words, I want a look that I can put my name on without being embarrassed. So I am always looking for the best “What You See Is What You Get” (WYSIWYG) settings that will give me a nice look right out of the camera. As I acknowledged already, on some shoots you already know ahead of time there will be no effort at all put into grading, or color correction, or doctoring the image in post, or whatever you want to call it. Sure, Sony cameras offer a lot of Paint menu options, but if you think they can equal the power and flexibility of a dedicated grading program, such as Resolve, you are mistaken.īut, for the purposes of this article, let’s just set aside the option of grading in post. Regardless of what settings you choose on-board the camera or what Shooting Mode you settle on, a skilled colorist (and even ordinary people like you and me) can take almost any footage to a higher level in post. Now, let me say right up front, that I believe that everything can be made to look better in post. In fact, baking-in the final look at the time of shooting can eliminate the risk that an inexperienced client will do more harm than good when they attempt to grade S-LOG footage clumsily themselves. There is nothing wrong with that - and it shouldn’t mean that you have to settle for a substandard image. Sometimes, for whatever reason, you or your clients may want to get a “final” image right out of the camera at the time of shooting. Sometimes that can be done within your NLE, but more often it requires the more powerful features of a dedicated grading tool such as DaVinci Resolve.īut let’s be honest, sometimes that level of attention and extra workload in post isn’t wanted or needed. But S-LOG and RAW images must be treated like undeveloped film that will require extra work in post to skillfully grade the images. I think most people would agree that shooting with the camera’s CINE EI mode and recording the unadulterated S-LOG signal usually provides the very best results. So I decided to set up some test shots and find out for myself, while inviting other people to take a look and voice their opinions as well. Recently a thread on the FS7 Forum at got me wondering which is the better method to use when I, or my clients, don't want to have to grade what we are shooting - MLUTs or Scene Files.
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Therefore, I try to keep an open mind about other ways of using the cameras.
SONY LUTS FOR PREMIERE 2017 PROFESSIONAL
But like any complex professional tool, they can be used in many different ways to achieve excellent results. As you may already know, I have written in-depth Field Guide books for both cameras and produced a six-hour Master Class training video for the FS7, so I know the cameras pretty well by now. These are powerful cameras that can produce amazing images.
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Almost two years ago I bought a Sony PMW-F55, and six months ago I bought an FS7.