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    I'll consider the 20mm. Thanks!

    My next big question is will I get some kind of steadying device. I see that the DJI Ronin 2 is popular, though it looks like it may not be too comfortable to operate for long hours:
    https://www.youtube.com/watch?v=6KG0SB8oWvQ

    Maybe I'll hold off and see if something else comes out.

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      S-Log : S-Gamut3.Cine vs S-Gamut3 : There seems to be a general "shoot in S-Gamut3.cine" but I don't know why. Is there any particular reason to shoot in one over the other Gamuts on the FX6 as I see that S-Gamut3.Cine has a smaller colour space (but that may not matter if the sensor can not see wider than this anyway). Enquiring minds want to know, especially as my main output is HDR10 / 2020 and I'm grading in Resolve that support both Gamuts in their Colour Managed workflow.

      Gamuts-only.jpg

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        Because it is a colour space some may find more pleasing or appropriate for their work. Same reason most great images in a movie are probably 7-10stops in total dynamic range despite being able to technically capture more if you wanted.

        As an aside I usually desaturate my image somewhat and then allow the colours I choose to pop so as to draw the eye where I want to draw it.

        My standard monitoring LUT has slightly lifted blacks and slightly desaturated colours from the standard S709 lut.

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          Originally posted by jmone View Post
          S-Log : S-Gamut3.Cine vs S-Gamut3 : There seems to be a general "shoot in S-Gamut3.cine" but I don't know why. Is there any particular reason to shoot in one over the other Gamuts on the FX6
          Yes there is.. The short answer is because S-Gamut3.Cine / S-LOG3 was created by Sony so that their cameras could provide a very close match to Cineon Log and Arri LogC, and therefore, the same LUTs and grading techniques can be used in post. In the early days of S-LOG2 (superior to S-LOG3) people in post didn't know what to with it because it was different than other flavors of LOG that they were already working with. Some people don't want to learn new stuff or change their ways. So, Sony gave those people what they wanted so that Sony's camera's might be more welcome in certain circles.

          So, if you don't care about being compatible with footage from other cameras, and if you are smart enough to know the difference between LUTs, then you use whichever one you want. I perfer to use S-LOG2 on the cameras that offer it, but if S-LOG3 is my only choice then I always use the .cine version just to be mainstream. There's really no advantage to NOT using the .cine version, so why not use it?
          Last edited by Doug Jensen; 07-23-2021, 07:12 AM.
          Doug Jensen, Sony camcorder instructor
          HOW TO MAKE MONEY SHOOTING STOCK
          http://www.dougjensen.com/

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            Originally posted by jmone View Post
            S-Log : S-Gamut3.Cine vs S-Gamut3 : There seems to be a general "shoot in S-Gamut3.cine" but I don't know why. Is there any particular reason to shoot in one over the other Gamuts on the FX6 as I see that S-Gamut3.Cine has a smaller colour space (but that may not matter if the sensor can not see wider than this anyway). Enquiring minds want to know, especially as my main output is HDR10 / 2020 and I'm grading in Resolve that support both Gamuts in their Colour Managed workflow.
            The roots of go all the way back to wider color space (CFA dyes) exclusive to the F65 and F55. The F65 was S-log/Sgamut, along comes Cine-EI and the F55 with S-Log2/Sgamut. People were struggling to understand the new exposure tools and color managements with neither color space transforms nor luts to help them out, grading straight from log that put middle gray at 32%. Sony responded with an easier to manage S-Log3/Sgamut3 that put middle gray at 41% mimicking the cineon curve used by Alexa and followed with the Sgamut3.cine and the LC709A lut which stood colloquially for “low contrast 709 Alexa.”

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              Shoot! Doug jumped me!

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                By the way I do think for HDR there is an advantage at least on paper for using Sgamut3 over Sgamut3.cine as HDR is all about maximum color volume but you could well extend that advantage to Slog2/Sgamut as Doug noted.

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                  Being a newbie to Cinema Cams, I'm not constrained by past practices... So I did a test shooting the same scene with a colour card, bright highlights, deep shadows, rich foliage, cream wall etc (one exposed for the highlight, another exposed for the shadows). I did one using SG3.Cine/Slog3 and one using SG3/Slog3 then imported all the clips into Resolve using Resolve's Colour Managed space (no LUTS, no grading).
                  • All the clips were correctly identified as SG3.Cine/Slog3 or SG3/Slog3 by the input transform
                  • The pair of SG3.Cine/Slog3 and SG3/Slog3 clips looked identical both on a HDR1000 and Rec709 timeline colour space
                  I even pixel peeked when zooming in and they are visually the same. So from what I can conclude:
                  • The wider SGamut3 over SGamut3.cine makes no difference on the FX6. Might as well leave it on .cine
                  • Matching different clips is dead simple when using a Colour Managed space instead of LUTS or doing a manual technical grade

                  Comment


                    Has anyone tried to use EF lenses with their FX6? Specifically with the Metabones IV. Obviously not AF but does aperture control/IS work?

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                      I had perfectly fine iris control on a cheapo commlite adapter.
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                        Originally posted by scorsesefan View Post
                        Has anyone tried to use EF lenses with their FX6? Specifically with the Metabones IV. Obviously not AF but does aperture control/IS work?
                        Did you already get an fx6?
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                          No, not yet. Planning on ordering one. I'm assuming what works on my a7siii will work on the fx6?

                          Comment


                            Originally posted by scorsesefan View Post
                            Has anyone tried to use EF lenses with their FX6? Specifically with the Metabones IV. Obviously not AF but does aperture control/IS work?
                            I get full functionality (AF, iris, IS) with a couple Sigma lenses in EF mount (18-35, 150-600) via the Sigma MC-11 adapter. My Metabones is a speedbooster so I haven't tried it, but the MC-11 works so well I'm not sure the MB mounts (non-SB) offer any advantage.

                            Just note the AF isn't perfect, but that's to be expected.

                            Comment


                              Originally posted by drboffa View Post

                              I get full functionality (AF, iris, IS) with a couple Sigma lenses in EF mount (18-35, 150-600) via the Sigma MC-11 adapter. My Metabones is a speedbooster so I haven't tried it, but the MC-11 works so well I'm not sure the MB mounts (non-SB) offer any advantage.

                              Just note the AF isn't perfect, but that's to be expected.
                              Thanks. Good to know. I have a C 24-105, C 70-200 f4 is that I would like to use. I just ordered the FX6, so hopefully it will arrive by Christmas ;)

                              Comment


                                Originally posted by scorsesefan View Post
                                Has anyone tried to use EF lenses with their FX6? Specifically with the Metabones IV. Obviously not AF but does aperture control/IS work?
                                I also use a Sigma MC-11 EF adapter and can report it works great with Canon lenses on my FX6. But I am slowly retiring my Canon lenses and moving to native Sony e-mount lenses.
                                Doug Jensen, Sony camcorder instructor
                                HOW TO MAKE MONEY SHOOTING STOCK
                                http://www.dougjensen.com/

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