Bassman2003
Veteran
Sounds like it is best to try before buying or buy a group and only keep the best one as there seems to be some variation between cameras.
a6300 news
- Thread starter JoeThePro
- Start date
Erik Naso
Veteran
If the color science of the a6300 is the same as the a7s ii you wont get a "out of the camera" match with the FS7. In post you can get them close. Maybe with a color chart and vectorscope dialing in a profile might be possible but that requires a lot of work.
ReelWorksMedia
Well-known member
Ha...thats a pretty kick ass fight scene. All cameras and tech aside...those guys rock. Nice angles and approach.
ReelFilmGeek
Well-known member
Yeah after shooting with the FS5 and A6300 today it seems like the color science is different. My A6300 Slog 3 seems more flat than the FS5 and when using the Sony Slog3 to Rec709 they dont match, the A6300 seemed to have more magenta. These were very unscientific and rushed tests today but still it was a noticable difference that needed to be adjusted in post to match. Both shooting Slog 3 with the S-gammut3.Cine color mode. And do the A7S II and A7R II have different color science for getting them to match to the FS5/FS7?
ReelFilmGeek
Well-known member
Alright will take some time to play around with it if I can and try to get them to match better. Otherwise it might just go back to the store. Debating on trying to sell my A7R MK I and return the A6300 and get an used A7R MK II and keep the A6000 as the backup cam, but not sure I will be able to find a A7R MK II for cheap enough.
MichaelFischer.at
Active member
S-Log3 has to match. If you see contrast differences, check if video vs data levels were used. They are the most likely cause for this!
That's for contrast. Color is a different topic
What is cheap enough?
It seems like the best eBay open box and similar prices that I have seen are about $2,500. There might be a few more used ones turning up with the A6300 shipping now.
I have been doing a lot of buying recently, so I need to sell to pay for it. I'll check prices as I'm researching sales prices for other items.
(Bought a D810, A6300, Canon 100-400II. I just can't get away from shooting all 3 systems.)
Im using the a6300 as a B cam to my FS5. I shoot both in Slog2 and Pro colour matrix. This gives me the added benefit of dialling in any white balance as I'm not locked into 3200,4300 or 5500K.
I also find the Pro Matrix in the a6300 a better match than the Cine.Gamuts. So using a Pro or Cinema matrix there is less colour dabbling in post to worry about, its just getting the contrast to match and they match very well. I also shoot 4K in the a6300 as its only 8bit 420 and when down sampled to HD i get less noise and i can push it more when grading as apparently 4K down sampled to HD gives more colour space and that is what I'm feeling.
A also leave both the FS5 and a6300 at 0 sharpness and don't lower them to -7.
gkantziper
Esteemed Member
S-Log3 has to match. If you see contrast differences, check if video vs data levels were used. They are the most likely cause for this!
That's for contrast. Color is a different topic
If anybody finds a way to match the A6300 and an FS7 BUT NOT IN SLog (I don't really care about the aesthetic), please post the settings for each camera. I'm looking at the A6300 as a second camera for interior, lit, corporate interview setups. Mostly for one camera on a 2 shot and the other on a single shot. Or, if doing a 2 camera on the same head, one wide, one tight. Thanks.
roxics
Veteran
Interesting article on the a6300
http://www.newsshooter.com/2016/03/...not-suitable-for-use-in-general-broadcasting/
http://www.newsshooter.com/2016/03/...not-suitable-for-use-in-general-broadcasting/
It's similar to the Consumer Report. Set up some criteria, stick to them even if the market moves on.
On the other hand, it's a $1,000 consumer hybrid, not a bleeping Alexa65 and any differences are obvious.
BTW, their Tier 1 UHD approved camera theoretically doesn't exist yet anyway, as it requires a 26.4 MPX sensor.
On the other hand, it's a $1,000 consumer hybrid, not a bleeping Alexa65 and any differences are obvious.
BTW, their Tier 1 UHD approved camera theoretically doesn't exist yet anyway, as it requires a 26.4 MPX sensor.
BrianMurphy
Veteran
As someone who spent the better part of the last 40 years in Broadcast, I find this review neither here nor there. Broadcast in my humble opinion is a joke these days, Skype is good enough for most news networks, as a matter of fact they will take pretty well anything any codec. Broadcast drama and sports are perhaps another cup of tea but for most, a good HD image will work and there are some brokers who are still demanding ten year old Sony and Panasonic cameras when they call over lighter and faster EFP/ENG cameras. But some old dogs never learn new tricks. Not this old dog. The big network stuff is shot on fine equipment of all sorts from Sony to ALexa to Red and Panasonic and that will never change, despite the fact that everything is compressed to the max to minimize the bandwidth and keep the cable and sat and web distribution as low cost as possible. As a camera person, 75% of what I shoot is for on-line/web use. The rest is Sports and news and the odd commercial here and there. I don't think I am unlike many others who are looking at buying an A6300. Yep I am pissed off about the overheating, but don't care about the rolling shutter and will use this camera to replace my NEX 7 which also had the overheating problems, but still did good work the way I use it. I think there was a time when many people lived and died on the BBC and CBC standards (in my country Canada) but it becomes less and less important as times change. I am buying one, will ***** about its failings and exploit its good points to the max. It is a $1K camera....kinda says it all in my books.