The Sony a7 III is a Killer Video Machine

There is severals PP versions than after apply luts in lumetri you could have randomly crashes, it is like the graphics card did not respond anymore (black screen):
There is small indicator on lower right screen.
Error Compiling Movie GPU/Lumetri or A low-level exception occurred in: Lumetri Color (AEVideoFilter).
Thoses errors appear when you scrubbing in the timeline or export your project. PP is freeze you have to go in task bar and shutdown PP.
Sometimes when scrubbing, there is black screen, you have to re-enter the file path of some luts apply in your project, sometime not, even after put your luts in the right PP folder.
When you are working on huge project, imagine the nightmare.
I noticed sometime problem with creative lut that does not render correctly even after change lut, you have to delete lumetri effet and re-apply it for creative lut run normally.

I have Nvidia TitanX graphic card and others PC, randomly crashes are the same.
So, since several years, i prefer use rock solid colorista to apply luts in my project with gpu acceleration in PP.
Lumetri bugs are the same in PP 2019, and 2019 stability is worse.

My pipeline to work correctly: CC 2018 + colorista IV.
 
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skin looks great. my beef with sony color has been the skin just tends to look brown/beige where canon has a healthy "luster" to its skin tones. ill try the settings jonpais is using.

david
 
A7S II vs. C300 II:
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I shot this ~3 years ago. A7 III has matching and soon exceeding AF vs Canon and color has improved too. Still worthwhile to use a Canon DSLR for a color reference (prefer Canon DSLR color over their Cinema color). Note A7S II had better highlights in that test.
 
@david_p I use PP1, Cine2, Color Mode Cinema, Detail -7, Zebras C2 Lower Limit +95. Other PP settings at factory default.
 
jcs said:
A7S II vs. C300 II:
.

I shot this ~3 years ago. A7 III has matching and soon exceeding AF vs Canon and color has improved too. Still worthwhile to use a Canon DSLR for a color reference (prefer Canon DSLR color over their Cinema color). Note A7S II had better highlights in that test.
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John - great to re-watch your video after all this time. Very trippy. hehe
 
jonpais said:
Graded footage.

Just wanted to point out that before people continue bashing the"Sony Look" that unless there is more to this setting than he says, Jon's set up is basically just a Sony Preset: Cinegamma 2 (Could probably be any cinegamma but Cinegamma 1 would look identical with only a little more headroom in the whites.) and "Cinema" color mode . Detail -7 is recommended for any setting to avoid over sharpening. That is not to criticize Jon's footage - it is indeed beautiful.

So really its just Cinema color mode - i.e. it is a "Sony Look". Or maybe its like the quote I'll never forget from some famous Hollywood DP American Cinematographer describing the importance of the 'Art Director" : "If you want a pretty picture of a girl - first find a pretty girl." Jon no doubt did that very well.
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Workflow, Leeming LUT One - HLG BT.2020 to rec.709 in Final Cut Pro. Lovely colors, improved dynamic range.
 
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I tried leeming lut one HLG3 BT2020 to rec 709 it is not bad at all but i prefer my process (convert hlg to slog3 and apply my koji slog3 lut) render is far better to me and match far better with FS7.
 
David Del Real said:
I like this workflow and camera settings. Do you prefer HLG over SLog2?
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Thanks. I haven’t worked with either long enough to say. I hope to do a regular project with HLG soon. Gerald Undone prefers HLG3, but you’ll have to reduce saturation in post and pull highlights down a bit if I remember correctly.
 
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After using HLG3, SLog2 and Cine2, it seems like I keep going back to Cine2. HLG3 is really good with the Leeming LUT Workflow, Slog2 seems to work okay in bright daylight but Cine2 just works for me as an all around good profile - especially with the Leeming LUT.
 
SLog2 with SGamut3.cine + sat was super easy to work with on the A7S II. Sony's SLog2 is similar to Canon's CLog, which is popular in the Canon world and most find it easy to grade without a LUT: just a simple curve and you're done for tone mapping / contrast. Curious if that's still true for the A7 III and if there's a better color space than SGamut3.cine which takes even less work- just edit a curve and you're basically done (if WB etc. was correct).
 
That dynamic range in HLG3 though... I'm torn. Just looked at some footage shot this weekend in HLG3 and SLog2 and they both look great. Dang. Oh well...

I know that Paul's LUT for SLog2 is for sgamut but it works well with sgamut3.cine too. I'm beginning to think I like that best. It is easy enough to work with and over exposing by 2 stops isn't difficult. You can use the curves only workflow but I think you lose some texture that way.

EDITED TO ADD:

It is the A7III, hard to go wrong I guess. My first Sony camera. My wife and I have been using Canon for 20 years, Panasonic GH4 also for a couple of years. Ditched all our Canon gear (a couple of XL1's an XL2, an HV30, a T2i, a couple of 6D bodies, a couple of 7DII bodies, a couple of C100II bodies and an 80D body) except for one 80D body and a couple of lenses and otherwise went all in on Sony. Couldn't be happier.
 
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Shooting slog or HLG does have one serious advantage over linear and that is the ability to deliver projects in glorious HDR.
 
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