Sony Picture Profiles & Dynamic Range Guide (Cine vs S-Log vs HLG)

Sony Picture Profiles & Dynamic Range Guide (Cine vs S-Log vs HLG)


There is a lot of talk and quite a few videos out there comparing the different picture profiles of the Sony cameras But it’s all a bit too subjective and opinion oriented for my tastes So today we’re going to take a look at the scopes and see what’s really going on Let’s get undone lol What’s happening everybody I’m Jael dun dun and resistance is futile today. We’re going to look at three things The first is the noise level and dynamic range of the popular picture profiles for Sony for video using the a7 3 I’m gonna say picture profiles for that first part. We’re going to focus on the gamma selection second I’ll give you my pick for the most well rounded picture Profile and third I’ll dispel a couple minutes about picture profiles in general along the way So let’s not monkeying around and get right into the samples so for each one of these we’re gonna have the gamma that was used here which in this case is movie or like I said, You could set picture profile to off as well as the ISO and the f-stop and then we just have some Increasing power of Lights and then over here. We’re gonna have the scopes now We’re using the luma waveform right now, which will show us a few different things each One of the lights is obviously going to show a step here. And then this example would be what happens when something is clipped So we can see there’s four different lights That are all above 100 or above 255 and they’re just showing us flat clipped lines and over here You can see that they’re just bright white lights and they’re pretty much indistinguishable And then as it comes down to the bottom here this bar is gonna be our black level that’s basically the rest of the black and the scene and the higher that goes the higher the black level will be and also the noise may encroach upon it or Overtake it and also this will count as a stop itself But if say this bottom stop here as you can see the stop on the left, you can’t you can’t make it out It’s buried within the black level and this stop is pretty much being eliminated by the black level as well this is what you would look for to decide if this gamma is going to give you enough information to work with for what you’re Trying to do as well as the noise values so the next one we have here is cine 2 now Sydney 2 is one that I personally like but something that should let you know is that all of these first ones were done at ISO 800 and that’s the reason primarily why both movie and Cine to have some clipping ascending to has less clipping There’s only 2 of the stops that are pushed all the way up over 100 But the reason why we used ISO 800 is because s law and s log to s log three They require a minimum of ISO 800 So in order to evaluate these things evenly we’re gonna do ISO 800 first but then We will utilize the lower ISO that we can for the picture profiles that allow it but let’s start off with just a XO 800 Once so sending two we have a better a better shape here less contrast It’s not being pushed to the extreme and you know, we get decent lower stops and decent upper stops but again, we could set a better exposure because we’re not required to do ISO 800 now, let’s go to Sydney for just to compare similar idea the top two stops are being clipped and we get kind of a similar roll off but there’s there’s two differences here City four has more contrast which again we can see because the middle area is being pressed apart further and The black level is lower as well. If we jump back to Sydney 2 we can see the black level is higher But there’s a disadvantage here, which is that on Sydney for our lower stops are having difficulty You know erupting through that black level and if we look at the image itself We can see this the lower areas here in the shadows There’s fewer of them that are pronounced compared to the city to Which we can clearly make out some more of the shadow areas better So those are the trade-offs there between city 2 and city for both are okay I think that’s any two gives you more to work with and it’s much easier to just push down those levels Afterwards and you’ll actually end up with a cleaner result, but we’ll get into that when we have the better ISO settings Alright, let’s jump ahead to this one, which is s log 2 now We can see with s log 2 that we’re nowhere near clipping anymore using the exact same exposure settings of ISO 800 and F 2.8 We’re only reaching 80 Ayari and it’s rollin off, you know Rather nicely and let’s just compare that real quick test log 3 over here s log 3 is giving us more shadow information We’re getting higher bars. The the higher the bar that you’re seeing here is basically going to suggest that there’s more information there So as you can see, these stops here are reaching higher than if we go back to s log 2, they’re lower So we’re gonna get more shadow information out of s log 3 But the high light bars aren’t reaching quite as high as s log 2 is so we’ll get more highlight information out of s log 2 but there’s some trade-offs here if we just kind of look at the noise in the scene here and then we jump over to Log3 we can see this clearly a lot more noise in the scene And when we zoom out the black level like we said is different This is gonna have an impact where yeah, we can see more shadow tones, but and fewer in s log, too But the image is dirtier now the common recommendation for shooting s log would be to shoot it more exposed and then bring it down afterwards if you want or to clean up your shadows because if we bring our shadows and our Black levels down that’s going to hide a lot of that noise, but it’s still not going to fix it perfectly So now let’s jump over to this one which is still s log three and it’s still iso 800 but it’s f one point four So it’s two stops brighter and that allows us to get our highlights to come almost all the way up to 100 and this is sort of I would say I want to call it a myth but something that’s commonly done is the idea that You can just over expose your s log and then you just push it down and it’s fine. It depends on what you’re shooting Let’s push our shadows down here and our blacks down So now our noise levels are a little bit better But now we’re getting to the point where we’re actually losing almost a full stop of the shadows Now the advantage of s log is that you’re probably going to gain that stop up on the higher end and if we clean it Up a little bit more and push it even further, you know, we can get a pretty nice-looking image but we’ve almost completely lost that last stop now and this is this is just what happens generally if you want to get rid of The noise from an s log image you’re gonna have to probably crush your blacks out, which is fine again if you’re shooting you know a nice bright outdoor scene or something with a lot of light but it doesn’t work the greatest in a dark scene because It can kind of get muddy and crushed and hard to really make the details out. Okay moving right along Let’s jump over to HL G now This is HL g 3 and this is probably my favorite gamma For the Sony’s and I’ll explain why so first off you’ll notice right away that we get all the way up to the 100 255 while keeping the ISO 800 F 2.8 Setting and then also We can come all the way down here with a nice smooth shape And our bottom stops are doing pretty well to keep above the black level and H LG also has the advantage Unlike s log where we can have a lower ISO just like we come with the cine gammas And so let’s jump into the lower ISO situation now and talk about reducing some of the noise. So, this is ISO 800 F 2.8 if we jump over here, this is HL g 3 again, but ISO 200 at F 1.4 So it’s the same exposure but we shifted those stops on to the f-stop instead of on the ISO And this is usually good for blackened areas But something interesting about the hlg profile is that it doesn’t have as big of an impact on hlg as it does on other Gammas the 201 obviously this is iso 200 So this should have lower noise and I’ll just give this a bit of a play for you. So look at the noise over here And now let’s do that same thing. But on the ISO 801 You might find on the switch back and forth note that it’s not that big of a difference and this is one thing that’s great about hlg Is that even if you have to kind of get there with ISO? despite what I was just saying about s log is it doesn’t punish you as much as other gammas do By getting there with ISO now a quick thing. Let’s just compare to the other hlgh. Og3 ISO 200 F 1.4 Let’s notice the shape over here Now let’s jump over to this one, which is HL g 2 you’ll notice that there’s very little difference at all All I see is at the very top stop is just being pushed down a little bit So let’s jump back See it a little bit higher a little bit lower and then the other difference would be the black levels and the noise let’s take a look at HL g 3 look at the bottom where the black level is and then hog2 So just comes up a little bit. So I would just say that HL g 2 is just slightly inferior It has slightly worse blacks and noise and slightly worse whites. So there’s not really any reason use that one in my opinion I would just stick with hoz 3 based on what I’m seeing here on the waveform. Let’s go to HL g 1 Now that’s just even worse if we compare that even to the second one This is 2. This is 1 the black levels go up even higher and we’re clipping Two-and-a-half to three stops on the upper end here and then lastly HL g straight no number it’s very very very similar to HL g 3 let’s jump back to hoz and Then just HL G so the shape is fundamentally the exact same on the two of them and we’re getting very similar values but the black level is higher on the straight HD LG one now this could indicate to you that maybe You would be able to push that down a little bit and get you know better noise reduction but there is one thing to consider which is if we look at how much our lower stops are coming up out of the black level and we Compare that they chose e3. We are getting a little bit a little bit more separation on our lower stops at Hou We are on Hlg so even if we did have more room to bring that down, we’re also gonna be bringing down our lower stops as well I don’t think that one or the other here is gonna really make it or break it I think that hlg three maybe is slightly slightly more versatile, but they’re very very close But I wouldn’t use hlg one or two. I don’t really see much reason for that now, let’s jump over here I’ve got some better exposed cine ones. This is cine four I was able to use ISO 200 The lowest you can go on Cindy for is ISO 200 and with Cindy 2 You can go down to ISO 100. And then like I said hlg is like 125 or 160 So if we look at this one, it’s definitely not clipping like it was earlier Where was our previous city for was this one? Right? Yeah, so see we have this pushed all the way up So we have an advantage of not having that happen But we still have the issue where there’s definitely more contrast and a lot of our lower tones are you know being faded into oblivion? Let’s compare that to a better exposed cine – same ideas what we saw earlier where there’s more more shadows We can see them here versus the cine 4. I actually kind of like the way that the highlights are being handled here We’re sending two over the city for and the lowered contrast again I feel like it’s gonna give you more to work with afterwards in Sydney for wood You could argue that cindy 4 would be more deliverable right out of the camera But it’s not that hard to add a little bit of contrast and change your black and white levels So I think that Sydney 2 is going to give you more to work with and you can have a full-stop lower ISO Which will probably make a difference So if we were to just drop down The blacks a little bit on cine – and the shadows a little bit and then compare that to 74 we still have more More shadows, we still have more different stops in the darker area now you are gonna get better dynamic range on the SLR profiles if we compare this cine – which is pushed down to This s log 3 which is pushed down we can see that you know We’re getting better dynamic range out of the s log 3 But the s log is harder to work with and there is still something to be said about the fact that the s log Might band and cause blotching artifacts sooner than the cine would just because of the 8 bit limitations of the smaller Sony mirrorless cameras Where with cine I don’t think that you’re really going to find that happen as easily and again You don’t even have to push it as hard to grade it Because it’s less extreme than s log to begin with throwing this all together though I think I would still go with the hlg which you can see here. I didn’t push this one down at all So let’s just do a quick comparison between the h LG g3 the city to push down on the s log3 push down This is HL g3 this is s log3 and This is Sydney to now we can definitely see that we’re getting better dynamic range out of the h LG 3 and s log 3 but the H LG g3 Compared which by the way, I did nothing to it compared to the s log 3, you know we’re getting most of what’s already been done to the S log 3 with the HL g3 rate out of the camera and we can achieve lower ISO so we don’t have to push down as far and if we look closer into our darker areas here, let’s Zoom in here and compare this to the s log 3 we can definitely see that we’re retaining more With the H LG g3 than we are with the s log 3 and again with that whole 8 bit Banding blotchy artifacts thing the H LG will be less susceptible than the s log 2 that because we don’t have to push to this far and so to answer my second point where I said I would tell you what I think is the most well-rounded picture profile gamma I would use HL g3 and as a runner-up I would go with cine 2 for hoz 3 I would use the BT 2020 color and not the rec 709 the BT 2020 just has a better rendition and allows for more versatility and more Applications in the future and it’s pretty easy to conform down to rec 709 in post Ok Now point three I said have a talk about a couple myths one of the first ones that I see a lot is that it depends which picture profile you actually put your settings in so some people say like if you’re gonna use You know cine to make sure you put it on picture profile 6 because it that stuff doesn’t matter now It is possible that on your camera There are different settings for the different picture profiles that are deeper and like in some of the details and advanced stuff Where if you just changed the gamma that it’s gonna look different than just changing the gamma on another picture profile But if you make the settings the same Exactly the same on any picture profile. It will look the same as any other picture profile with the exact same settings But if you don’t believe me, I’ve got a couple decide by sides here to show you This one here is cine for set the picture profile 1 everything exactly the same and this one here is Cindy for picture profile 9 Everything said exactly the same if we look over here on the scopes Which we would see if there was a difference and we click back and forth They are exactly the same and then for another example providing an actual image Here it is. Again. The when I think I used picture profile two and eight just to mix it up and so this would be picture profile two and This would be picture profile eight and the scopes look exactly the same and the image looks exactly the same as well when I click Around you can’t even tell them clicking. So trust me. There is no difference If you set all the settings the same regardless of what picture profile number used now I also went through and looked at all the different color modes and try to make some evaluations on that to pass on to you But I’m not going to bother with this because color is so subjective and I’m not gonna tell you what might look better to you Or not do whatever you like the best. There’s a lot of different color options in there I can say which ones I think are you know the most versatile like I told you the BT 2020 I think on HL g3 is the right way to go and For the cine ones. I actually think that cinema color might be it’s a little bit flatter It might give you a bit more to work with some people like pro color and that kind of thing But I think if you want, you know a better Starting point a more open starting point. I think cinema would be the way to go But if you want some specific look that come right out of the camera That’s gonna be up to you And this is a perfect point to talk about my final myth Which is that adjusting the knee to have a point of 80% and a higher slope? will really improve your image and my answer to that is Not really There are definitely some looks out there that people try and sell or you know Give you downloads for Lots and that kind of thing where there are specific settings That would probably work best with that lot, but I think just as sort of a general statement You’re more likely to worsen the image than improve it by adjusting those things These aren’t magical options that are going to increase your dynamic range or widen your color space and I think in many cases They’re advised by people that I don’t think fully Understand the downsides for example crowding a lot of information into that 80 Ayari area if you have lighter skin like me Can make for really murky highlights and blotchy skin tones so my advice is to leave everything on auto or zero or whatever neutral setting there is and stick to the more important things like White balance and nailing exposure because those actually will have real Serious advantages on your final image and your dynamic range the one option that is good to adjust though is the detail I would push That all the way down to minus 7 because sharpening is usually best left Off-camera and done in post where you can adjust it after the fact and non destructively But if you truly want to get good at choosing profiles and grading your footage You’re just going to have to practice and base it off of what looks good to you There’s no quick fix And I think starting with the neutral HL g3 with BT 2020 color or cine – with cinema color is a good safe Versatile launch point, but if you drew different conclusions from these tests based on your own needs, then that’s okay, too There aren’t any miracle settings out there that you can just put into your camera and not have to think anymore It’s always gonna require a thoughtful attention to detail, but hey That’s what makes it your video and not someone elses but that’s gonna be it for me I hope you found this video helpful or at least entertaining and if you did make sure you leave it the old thumbs up and Consider subscribing if you haven’t already, but if you did not find this video helpful or entertaining feel free to hit the dislike button twice Now alright I’m done

Only registered users can comment.

  1. Awesome video, thank you! Just starting to play around with the video capabilities of my Sony and this helped a lot… in fact it was so good, I hit the like button twice 😜

  2. What would you say is the best picture profile for shooting long movies e.g. weddings without any need for LUTS/grading?

  3. Excellent approach that finally visualizes the difference between cine 2 and 4, as well as rhe others.

    Since premiere automatically converts bt2020 to rec709, it would be nice to know what would the smart way to do that in Resolve 15, which does not auto convert the colorspace.. There are some luts for that but some insight for that would be nice. Thanks a lot for the video!

  4. Regarding HLG colour space.
    "As the name suggests HLG is a hybrid gamma curve. It is a hybrid of Rec-709 and Log. But before you get all excited by the log part, the log used by HLG is only a small part of the curve and it is very agressive – it crams a very big dynamic range into a very small space – This means that if you take it into post production and start to fiddle around with it there is a very high probability of problems with banding and other similar artefacts becoming apparent."

    More info here:
    http://www.xdcam-user.com/2017/07/what-is-hlg-and-what-is-it-supposed-to-be-used-for/

  5. Dude. You're Real Deal Holyfield, man. Thank you so much for this. I'mma name a kid or at least a pet after you, brother.

  6. got the Leeming LUTs because of this video or the HLG video and all I can say is …WOW so nice and subtle corrections for color accuracy.

  7. Damn! I own my Sony Camera for about half a year now so Lets say Im a Beginner In Photo/Video world so I spend A lot of time on Youtube. Daily watching All kind of Videos and Youtubers, educate myself and trying to understand how the things works and know how to use full potential of my camera. But Lets be honest. Your 16 minutes video was pure Education, Explanation, Comparison the way beginner as me been able to understand and I feel Like my knowledge about Sony Video in those 16 minutes Raised as much as countless minutes of videos in Past half a year! Im not subscribing Any of Photo/Video youtubers not even Peter McKinnon ( Although love his videos ) but Im clicking subscribe here straight way! For Pure information the way you presented it. Thank you so Much!

  8. If I'm not mistaken, Cine 2 is designed for well lit settings which unlike Cine 1, the highlights are capped at 100%. Perfect for your traditional broadcast. The Cine 4 curve is designed for lowlight, and the shape of the gamma curve shows it is allocating more data and contrast to the shadows than the cine 2 curve. Is your opinion based on the argument that you'll just be crushing those blacks anyways?

  9. How long have you been posting on Youtube? I’m surprised I never saw your vids before when they’re all so high quality. Subbed a new channel since a long time.

  10. Awesome video. I've watched and cataloged quite a few others and none of them went into this much detail and comparisons, which I appreciate a lot! Thanks!!!

  11. IMO, Gerald is underappreciated because his so technical and mostly YouTubers can't relate to it. But content wise his one of the Bests.

  12. I don't have HLG on my A7SII so I have been switching between Cine 2 and SLog2 but typically just stick with log. Great video.

  13. S Log 2 and 3 both have 14 stops of DR – your 'Dot Chart' is inadequate for this 'scientific' test as it doesn't even have enough range to fully test S Log.
    Secondly, S Log 2 is recommended for 8 bit and with Slog2 you won't have noise issues if you grade it properly dude, slog3 will cause banding with 8 bit cameras.

    Thirdly – Sgamut for slog2 is much better to grade with and gives so much more flexibility in terms of rectifying Sony's colour – which is needed. Would have been nice if you acknowledged these points if you were going to seriously compare the PP's.

    Oh, also your last point about adjusting knee settings being useless, I used to shoot Cine4 and I could get almost 14 stops of DR out it by adjusting the knee settings – so you're mistaken there also. I think, from memory, for any reading, I would set the knee to 90 and adjust to +2. Play around and you can watch the highlights range extend like 2-3 stops.

  14. Kinda new to your channel so not sure if you solely a Sony guy but I'd love to see an autofocus speed & accuracy test of a Sony camera (preferably A7III) with adapter and Canon EF lens versus a Canon R with adapted Canon EF lens. I'm interested to know how much better if at all the Canon performs.

  15. hi raw still shooter here looking to get the flattest profile for raw sensor capture so I get accurate Histogram/Zebras I know Histogram based on Jpeg preview but if you have any ideas please let me know thank – great video btw

  16. Thank you so much for those in depth review… you just confirmed what I was always guessing but not really knowing.

  17. I recently filmed a short film on my toddler and used Cine 2 with -7 detail thanks to your recommendation. Will be done soon, its looking good even if i do say so myself; would love to send you the link to it 🙂

  18. That was fantastic Gerald. Best explanation of choices I have come across. I'm now a subscriber. Looking forward to more of your perspectives.

  19. Man oh man, Gerald, you do such a great job… and I know I say this with pretty much every video, but you do!

    I’ll have to go through this again, and I have Caleb Pike’s a7III video tutorial, so I’ll compare the two. The problem is there are simply (or unsimply) too many options. You can lose your mind overthinking all of this. Yet, I want to master the ability to shoot for a specific look which I may want to create and that takes a lot of garbage footage and weeks to months of editing, tweaking trying LUTs and failing a lot before you find your way to becoming comfortable with what options are viable. I’m getting old, and I don’t know if I have enough time to get a solid handle on it all!! Lol Regardless, Thank you for this…. HLG3 for now. But what PP# is that? … no worries. I’ll find it! 🙂 👍 Cheers!!

  20. You just gained a subscriber and a thumbs up. What an absolutely excellent video – so clear and so well demonstrated. I'm a new owner of an A6300 looking to find the most flexible settings for grading (and not really wanting to be forced into ISO800). This video was EXACTLY what I needed. Great delivery of quality information. Thanks and keep doing what you're doing!

  21. I Subscribed! Damn you're good…. I am gonna try to get you 100k subs:P

    Soon i will be shooting Real-Estate vids and i will be needing allot of dynamic range. Which pp would you prefer?
    Also do you sell luts for that profile?:)

    Thank you so much and keep up the good work buddy!:)

  22. Hi Gerald Great video .
    I have a question?
    I know you mostly do video profiles for vid’s
    I wanted if you can do colors for photography.
    Can you do one that can have the colors Science of like the Nikon Z6-7 colors for photography our Canon new mirrorless Cameras…Its hard to master the Sony a7iii to give a punchy color look for photography…
    I would much appreciate it..
    I notice no one who use the Sony a7iii or A7Riii don’t talk about it…

  23. brilliant video, really informative and helpful as fuck. but what about the Gamma do i keep it in auto?

  24. HI, overal superb channel, i am very glad that i found it as you are very informative! With all your knowledge could you make some videos about your camera recommendations in 2019? What would you buy and why? Let's say your top 5 cameras for photo and video?

  25. Does anyone know in which bit depth the picture profiles operate? Do they operate at the sensor output level (e.g. around 14 bit)? Or do they work "behind" the processing chain and only alter the 8 bit output file? If the first case is true, wouldn't in-camera-grading through picture profiles dramatically reduce banding and color artifacts compared to a normal LUT which works behind the 8 bit conversion? Does anybody know this?

  26. Hey Gerald, this is absolutely brilliant. Not sure how I managed to get by before subscribing to your channel. Question for you and anyone out there – I'm typically shooting S-Log / SGamut3.cine on my A7SII on an Atomos Ninja V, matching the picture profile from the camera on the Ninja V input settings. Works great. In low-light though, I would typically move to a Cine 4 profile, just changing S-Log 3 to Cine 4 on the A7SII PP8 (little trick coming from Marien Breithouwer http://www.marienho.com/). What would be the recommended input settings on the Ninja then? Same question if you use a Cine 2 / Pro combination. Thanks very much, and please keep us enlightened.

  27. So if I do not care about future proofing my videos or matching footage with others. Can I change it from BT2020 to Rec 709 in camera and not worry about anything?

  28. New subscriber, just want to say that your channel is the tits man the way you break it down is next level. keep up the good work sir.

  29. I've been looking a long time for an informative and straightforward video about pprofile of Sony a7 and this definitely nailed it. It's not about selling a LUT but real info on the picture profiles, thanks a lot, this made me hit the subs button.

  30. Great video, please help me out with this- i shoot on the sony a6300 mostly using cine4 (as it doesn't offer HLG), should i keep using the same PP in Low light situations or switch to some other?

  31. Hello, I bought the Leeming LUTs Pro. The LUT for HLG is just for HLG, do you think there will be a difference if I just use HLG3 instead of HLG?

  32. What are your opinions on EOSHD for sony cameras? I have them set up on my a6500 and rx100v but I don't know enough about the subject to have an educated opinion.

  33. Would be awesome if you made a video on which HLG profile produces the least to most noise and how exactly to reduce that noise. Your videos are always so unbelievably clean. Whenever I shoot in any of the HLG profiles I get a ton of noise, especially HLG3. I need Gerald Undone on this topic he's CRAZY!!!!!

  34. Hey Gerald, hope you’re doing well. I’m curious if you believe that you should still reduce sharpness in camera when using slow motion fps like 60-120fps
    Thanks for the great info as always

  35. Will you open with:Once such a booze has gone, cut the last cucumber
     "Раз пошла такая пьянка, режь последний огурец" (it means, to do something realy cool not paying attention to possible costs)

  36. Thank you so much for this, Gerald. I had spent well over an hour trying to find just this information by watching other youtube videos on the subject. I arrived at your channel feeling I'd been hit about the head with a rolled-up newspaper AND at the same time bored to the point of unconsciousness. You then answer the question and vastly expand my knowledge on this complex subject in a way that's totally engaging and witty. HLG3 way to go . . . . thanks, Gerald you are a STAR !!! (and also tx for Camera Conspiracies for recommending your channel)

  37. Awesome!
    If you included no picture profile as well, that would have been amazing.
    I only wish you discussed color issues also…
    Thank you!

  38. you have an uncanny knack of explaining the tech stuff very well and making it make it make sense. Thanks 👊

  39. Just got two of these cameras Gerald. This is an awesome video for reference on these aspects of them. Thank you. Thank you. Thank you

  40. Thanks a lot , I cant find HLG on my Sony A6500, set everything to Cine 2, Cinema Color and turned the Detail down to -7. Do I have to overexpose my video like its recommended for S-Log and can I use all the ISO available or is there a native I should stick in Cine 2? Hello from Berlin and again thanks a lot 👍🏻

  41. HLG doesn't have as much DR as Slog2 (or 3) and its terrible in low light. (lots of colour artefacts) So its not a winner for me.

  42. New to picture profiles here. Which profile would i want to work with when in dark lit areas with only artificial lights? Or better yet which profile to stay away from?

  43. I just bought an a7iii, coming from a Canon background I just can't find the things I would like to test by myself. This video is awesome, the amount of information given and the way you deliver makes your videos the best and you are a great teacher aswell! Now I just need to find where to change those settings 😂😂

  44. So on the BMPCC 4k and 6k, I've read that going higher on the ISO in bright situations gives better highlights. There are charts showing that more of the image is placed above middle grey with higher iso. Is this true on the A7iii as well?

  45. Hey Gerald! Thank you so much for this. You really put in the effort and we for sure appreciate your help brother. sorry for taking your time you already done a lot but can you tell me how to expose cine2? how much should i set my zebras? big hug :))

  46. Black Gamma-Level: This function lets you alter the shape of the selected gamma curve and adjust gradations in dark image areas. Setting it to +7 will give you much more shadowdetail… , which is often discussed here as being an issue, i wonder what your thoughts or what your results would be then : https://helpguide.sony.net/di/pp/v1/en/contents/TP0000909110.html

  47. What do I have to do to get your hair? And also, please make a video of an hlg3 / 2020 workflow to an hdr youtube upload. I'm still trying to figure it out

  48. Awesome work, just one question, why didn't you test the native ISO of the profiles ( Slog native ISO is 2000 according to Sony).

  49. Hi Gerald! Have to ask why your Cine4 cuts at 100% when it actually goes to 110% (281)? Have you compensated for legal output or just cut at 255? This is what I like with Cine4, there is always a little extra in the highlights to save in editing.

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