9/13/2023 0 Comments S log2 lut download sony a7siiThe cool thing is you can assign values yourself to this. It is eight digits in the hexadecimel system written as XX:XX:XX:XX. Until I have further information, I’m not going into details here. The Sony A7s has unexplored features for multi-cam editing: Overall, I’m extremely excited about the footage from the Sony A7s, even in XAVC S-Log2 mode. The transition from full swing to studio swing in Premiere Pro is acceptable (at least to me!). ![]() You can use the LUT in Premiere Pro (via Lumetri), After Effects, Speedgrade and Resolve. Here’s the download (ZIP, *.look and *.cube) for you to try. It is a starting place for further grading. The goals of this look/LUT are to preserve shadow details, preserve white balance, reduce the effects of moire, maintain highlight information, stay in full swing at 32-bit, keep dynamic range and remain within the pleasing range of the Alexa LUT. It is just an experiment highlighting what can be achieved. NOTE: Do not use it for critical grading or monitoring. Just as a starting place, I’ve put together a LUT based on the Alexa LUT in Speedgrade.709 gammas are crap for A7s footage IM-not-so-HO. It is a handy reference to keep within Rec. I would only use this LUT while monitoring, and NEVER for the grade. It is slightly contrasty, but that can be easily corrected. If you want to use a LUT right now, then the closest and most pleasing starting place is the Alexa CLog to Rec 709 LUT.709 LUT by Sony, but it applies to the gamut of the Sony F55 camera, and doesn’t look all that good with A7s footage. Some important notes from early experimentation: Applying LUTs/presets/effects without knowing what they’re doing is why most people get crappy banding and noise. Here’s my honest opinion: Use the latter system in grading. So, what to do? There are two ways to grade S-Log2 footage: Once we see 4K images I’ll know for certain. It can get noisy pretty fast in the grade and one must be careful. However, in all the footage I’ve seen so far, either the restricted gamut of the sensor or the heavily compressed codec (including color compression) really gives you a small window in the shadows. Cameras like the Sony F55/F5 using S-Log2 have very clean shadows. Strict highlights that must be controlled during exposure.However, the nature of the S-Log2 curve brings two challenges you need to be aware of: I have not had any banding or posterization. The footage holds up well “under limits”. If you don’t want to take the trouble, then don’t buy the Sony A7s or don’t record in S-Log2. To truly understand S-Log2, you’ll need to read my notes from Part Five and understand the fundamental differences between: A complete visual representation of the filmmaking process from beginning to end. Let’s look at that next.Įxclusive Bonus: Download your FREE Blueprint: How to make a movie. The ‘complication’ in the editing workflow for the Sony Alpha A7s comes in the grading. Prores HQ is good enough for any kind of editing project, even cinema. Here, it might be a good idea to use another codec for acquisition, maybe XAVC (it supports 4K). If it’s a documentary with a larger shooting ratio, you’ll need tons of drives.If you’re shooting a 90 minute movie with a shooting ratio of 10:1, you’ll have 6 TB of footage.If you’re shooting a 5 minute project with a shooting ratio of 20:1, you’ll have 100 minutes of footage, or 660 GB.Therefore, real-time editing and playback demands RAID 0 (at least 3-4 drives) or an SSD via USB 3.0 or Thunderbolt. Even a fast 7,200 rpm drive will suffer when you add titles, grades, etc. Even a portable 2.5″ platter drive via USB 3.0 delivers 65 MB/s or about 10 streams of 50 Mbps XAVC in 1080p.Īs far as 4K is concerned, the story is different. You will never need more than one hard drive (no need for RAID 0) for real-time playback. No matter which NLE you choose, editing Sony A7s footage is a breeze. Avid Media Composer 7 via the Sony PDZK-MA2 plugin.Apple Final Cut Pro X 10.0.x via the Sony PDZK-LT2 plugin.Here’s a list of NLEs that support XAVC S, AVCHD and MP4: Even if I wanted to create dailies on the fly, I’d prefer H.264 in 1080p. ![]() The camera does allow dual recording, though I’m not sure why anyone would use that. Not only is editing easier with XAVC S, it also offers the highest data rate and most robust video file to push in post production. In this final part, we’ll study the post production options and challenges in dealing with both 1080p and 4K footage.Īs mentioned earlier, I would never use any codec other than XAVC. In Part Seven we looked at the cost of putting together a Sony Alpha A7s kit.
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