Lets Talk About Sony Color

KyleProhaska

KyleProhaska

Veteran
All around the internet I get the impression that people like Sony cameras or at least admire the company, but some have an issue with the color. Why is that? In the Sony footage I've worked with I've found it more difficult to get something I like. I can't put my finger on it. Maybe they're having the same trouble I am? Even when lighting and composition is good, I have trouble (which I realize is my fault).

Very curious to hear what people think. :) Anyone who grades Sony footage more regularly care to chime in? The best I can describe the issue I have is an inherit blandness maybe?
 
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As far as I can see the Sony FS7 can do both. Sony look and all other kinds of looks. And I think it not only the camera but also the lens you use.
 
I'm gonna step on a grenade here, knowing there may be some backlash
...but how about let's not talk about Sony look.

There is so much, virtually everything has been said about it. Instead, let's talk composition, lighting, production design and post. Not to mention writing and performance.

Virtually any any camera shooting 10bit or higher can be wrangled into a good image if the above elements are in place. Heck, even 8bit at 24mbps can look stunning with the right person operating other elements in place. And did we mention lenses? Lenses! Of course, as much as I'd like to say that I'm coming to this opinion, I don't expect anyone to believe me since all my digital cameras are Sony. But I'll shoot whatever nowadays. So many other factors to consider that camera choices cannot be made in a vacuum...for me, at least.

Ok, sorry for the grumpy rant. Nothing personal. Feel free to have this conversation if you'd like.
 
Totally understood.

I think you can shoot with basically anything today. I don't want this thread to become about taking a dump on Sony. I'm just curious what others think. I just did a little test between the Pocket, Amira, C100, FS5, and BMCC and some friends couldn't tell which was which. I agree you can wrangle most camera footage into good looking territory if all the other elements are there, I'm just trying to figure out what about the Sony footage requires more attention. I have a much harder time getting the Sony footage I've worked with into a zone that's pleasing to me...and I can't quite put my finger on why.
 
Looking back at stills I've snapped with a wide range of very different cameras, all tweaked in Lightroom, they all look good and with my "style" of shooting and post manipulation. So in the end it's me, not the tool at choice that makes the difference. It's more to know the tool and the basics of making nice looking images.
 
Let's keep this discussion focused on Sony color. If you're shooting Sony, post what you're shooting, share your camera settings, and maybe even talk about how you handle post/grading. Let's make this a productive, professional thread about how great and flexible Sony color can be.

How does that sound?
 
Well I'm not as skilled as many here are in color, but I am slowly learning :)
Having been and currently still a fan of the "Panasonic look", I acknowledge there is also a "Sony look" and I have grown fond of it....except when I have to mix the two.
My Sonys are FS700R, EA50U, A6000 and a bunch of action cams. I mostly shoot internal 8 bit 4:2:0 and find it flexible enough for the post color work I do.
Not sure how to describe it, but I like the smooth Sony look. I use mostly Sony lenses.
 
We primarily shoot with BM and Canon cameras because of the solid color and (w/ BM) codecs.

Last week I picked up a cheap RX10 II to test as a second slo mo camera. I had limited epectations not just because the internet is full of Sony color discussions but because after looking at a lot of footage I had one of two asumptions to make: Either Sony color and noise in s-log is just inherent, or most people posting the foootage and making comments don't have a good workflow.

After a week of testing and tweaking profiles and comparing maybe 20 - 30 s-log2 LUTs, I can happily say that the issue is mostly the latter.

Also, because we're always on deadlines, ease of workflow was nearly as important as color and IQ.

So, using the RX10 II as my example, here's a fast, solid workflow that's given me good, consistent colors so far.

Camera: PP - Gamma s-log2, Gamut Cinema, Saturation +6, Detail -7 (for color, like contrast, I think the XACV-S 420 is a subtractive not additive codec - better to subtract some pre-compression color than to add it in post.) Expose consistently a stop to a stop and a half over.

Post: Filmconvert by far gave me better results vs any of the many LUTs I worked with. Specfically starting with the poper Sony profile from their site to convert the footage, I use FJ Ast 100 stock, 0 Grain, 100% Color, 50% curve and skin tones sit perfectly on the vectorscope. Along with a quick adjustment in the color board to balance the waveform and everything looks great. I've copied and pasted these settings onto a number of clips from different shoots and gotten a consistently accurate look.

Hope this helps.
 
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