cyvideo
Veteran
An experiment and observations some may want to check out.
As some of you would know, I've never been a big fan of S-Cinetone. I had a shoot the other day when I had a lot of undercover shade with very strong sunlit backgrounds. So much so I was not happy with the results I was getting. With a bit of time on my hands, I decided to change modes on the camera. The job required ready to go files with minimal grading. Having had pretty reasonable success with modifying the HLG settings to 709 in the A7s to gain more dynamic range, I thought I would try hacking the FX6's HLG to see if I could get a happy out of camera 709 look.
As many of you would know, Sony developed the FX6 to be basically a three in one camera. A 709 camera, an HLG camera and a Cine EI camera. The HLG gamma curve falls between the 709 and S-LOG3 curves. The problem is if you shoot straight HLG your colors don't look true on a 709 only monitor or TV. The colors are passable, but don't really cut it for accuracy.
Sony's genuine "Slog3-S-Gamut3.Cine_To_s709_V200" 709 LUT does put out a very decent color palette when used with S-Log3. This LUT though, when used with Sony's HLG as the input, some of the colors are obviously off target. But with some minor massaging of the Muti Matrix, the colors can be pulled back into line. A little time with a color chart, Vscope and WFM delivered the corrections required.
The Multi Matrix setting adjustments only number two, but have a large impact on the results. They are:
Axis R
Hue -5
Saturation -5
Axis CY+
Hue +30
Saturation 0
I've also lifted Master Black by 2.4 (This is just a subjective, not objective decision on my part in the interest of look.)
How does this work out in reality?
To get the correct exposure in the shadow areas at F/5.6 using S-Cinetone I was losing highlight detail and color quite badly in any bright white surface areas. Think of white fibreglass boats. To the degree that on the WFM the peak whites would hit 109 IRE, and wanted to go higher but were obviously totally clipped as they passed much over the 100 IRE point.
With the camera in HLG mode and with the Paint > Base Look > LUT Select being that genuine Sony "Slog3-S-Gamut3.Cine_To_s709_V200" LUT and with the Multi Matrix settings mentioned above I was able to shoot at F5.6 and retain much more detail and importantly color, and with the peaks only just hitting 100 IRE. It all worked very nicely.
To protect my highlights to the same degree in S-Cintone meant I had to bring my exposure down to F8.0 in the same shadow areas. Resulting in well under exposed image in those important areas.
The wash up? An interesting observation from both the producer and client who were both on set watching a 17" 709 calibrated monitor was "Wow, much better. That image now looks like what I am seeing with my eyes. The colors are 100% better". They didn't comment on the highlights per se. I often think lay viewers will say an image looks good or better, but without knowing exactly what made it look better. I had to agree with them, all scenes looked way better and more natural to life as viewed by eye. It was a much more faithful image. Not everything needs that supposed "Cine" look that S-Cinetone delivers.
Anyone wishing to try this out? I would be happy to hear any feedback.
Chris Young
As some of you would know, I've never been a big fan of S-Cinetone. I had a shoot the other day when I had a lot of undercover shade with very strong sunlit backgrounds. So much so I was not happy with the results I was getting. With a bit of time on my hands, I decided to change modes on the camera. The job required ready to go files with minimal grading. Having had pretty reasonable success with modifying the HLG settings to 709 in the A7s to gain more dynamic range, I thought I would try hacking the FX6's HLG to see if I could get a happy out of camera 709 look.
As many of you would know, Sony developed the FX6 to be basically a three in one camera. A 709 camera, an HLG camera and a Cine EI camera. The HLG gamma curve falls between the 709 and S-LOG3 curves. The problem is if you shoot straight HLG your colors don't look true on a 709 only monitor or TV. The colors are passable, but don't really cut it for accuracy.
Sony's genuine "Slog3-S-Gamut3.Cine_To_s709_V200" 709 LUT does put out a very decent color palette when used with S-Log3. This LUT though, when used with Sony's HLG as the input, some of the colors are obviously off target. But with some minor massaging of the Muti Matrix, the colors can be pulled back into line. A little time with a color chart, Vscope and WFM delivered the corrections required.
The Multi Matrix setting adjustments only number two, but have a large impact on the results. They are:
Axis R
Hue -5
Saturation -5
Axis CY+
Hue +30
Saturation 0
I've also lifted Master Black by 2.4 (This is just a subjective, not objective decision on my part in the interest of look.)
How does this work out in reality?
To get the correct exposure in the shadow areas at F/5.6 using S-Cinetone I was losing highlight detail and color quite badly in any bright white surface areas. Think of white fibreglass boats. To the degree that on the WFM the peak whites would hit 109 IRE, and wanted to go higher but were obviously totally clipped as they passed much over the 100 IRE point.
With the camera in HLG mode and with the Paint > Base Look > LUT Select being that genuine Sony "Slog3-S-Gamut3.Cine_To_s709_V200" LUT and with the Multi Matrix settings mentioned above I was able to shoot at F5.6 and retain much more detail and importantly color, and with the peaks only just hitting 100 IRE. It all worked very nicely.
To protect my highlights to the same degree in S-Cintone meant I had to bring my exposure down to F8.0 in the same shadow areas. Resulting in well under exposed image in those important areas.
The wash up? An interesting observation from both the producer and client who were both on set watching a 17" 709 calibrated monitor was "Wow, much better. That image now looks like what I am seeing with my eyes. The colors are 100% better". They didn't comment on the highlights per se. I often think lay viewers will say an image looks good or better, but without knowing exactly what made it look better. I had to agree with them, all scenes looked way better and more natural to life as viewed by eye. It was a much more faithful image. Not everything needs that supposed "Cine" look that S-Cinetone delivers.
Anyone wishing to try this out? I would be happy to hear any feedback.
Chris Young