OK, so I'm finally giving this a try on a shoot. Leaning toward Slog2 on both cameras. Anyone have any advice for a run 'n gun shoot with both of these cameras working together? Not a lot of time for futzing around....just follow the story and make pictures that make the editor happy in post. No colorist either, just a highly skilled Premier editor. I'm cross-posting this thread on the Facebook FS7 group as well, so apologies to those who read this in both places.
FS7: A7Riii reserved for shoot with FS7
- Thread starter Vintegreo
- Start date
Joshua Milligan
Well-known member
I shoot with the FS7, A7RIII and A7SII. For me, they are incredibly easy to match. I shoot in S-Log3 / S-Gamut3.Cine on the FS7 and S-Log2 / S-Gamut3.Cine on the A7RIII and A7SII. If I'm working in Premiere, all I do is put an Adjustment Layer across the entire timeline and add to it either Sony's LC709A LUT or one of the Bert LUTs and instantly all of my footage is colored well. The only difference is that the A7RIII and A7SII's footage is more contrasted because they were shot in S-Log2, not S-Log3. But the color is spot on. To get them to match the FS7 as far as contrast goes, I just slightly adjust the curves in the Lumetri color panel on the A7 shots to raise the shadows slightly and drop the highlights slightly. In doing so, they then match my FS7 damn near perfectly. I've been doing this for years and have found that I can rough color my entire timeline in no time at all following this process. Just add the adjustment layer, drop the LUT and adjust the curves in the A7 cameras. That's it. I cannot imagine a quicker and easier way to color match my entire timeline when shooting Sony cameras than this.
Also, I use S-Log3 on the FS7 instead of S-Log2 because I feel it looks much better (to me at least) and because you have to shoot in S-Log3 to have the option for S-Gamut3.Cine on the FS7 and that's very important as that is what makes the color match the mirrorless cameras. And on the mirrorless cameras I shoot S-Log2 instead of S-Log3 because I don't feel that the 8-bit color of the A7 cams handle S-Log3 very well, so I shoot in S-Log2 instead, but keeping S-Gamut3.Cine so the color matches the FS7. If you learn to do it this way, you won't regret it. It's super quick and super efficient.
Also, I use S-Log3 on the FS7 instead of S-Log2 because I feel it looks much better (to me at least) and because you have to shoot in S-Log3 to have the option for S-Gamut3.Cine on the FS7 and that's very important as that is what makes the color match the mirrorless cameras. And on the mirrorless cameras I shoot S-Log2 instead of S-Log3 because I don't feel that the 8-bit color of the A7 cams handle S-Log3 very well, so I shoot in S-Log2 instead, but keeping S-Gamut3.Cine so the color matches the FS7. If you learn to do it this way, you won't regret it. It's super quick and super efficient.