Funny how this came out just as I was tinkering with these two profiles. Settled on s-Cinetone for the majority of work for two reasons: quicker turnaround for projects and a feeling that, because I spent $3500 on a camera, that camera should do most of the work. 😂 by the way, I find that if I protect the highlights when shooting and lift the shadows a little in post, they are plenty clean enough to get decent dynamic range.
I agree cinetone has quite a lot of dynamic range. Not as much as slog but you can film whole event easily with cinetone and adjust shadows or colors. Maybe its more challenging for outside a bit
Matt not only the way you share your knowledge is priceless and by far one of the most well explained on TH-cam in my opinion but your LUTs look amazing and I'll definitely consider purchasing them. A huge thanks from one of your loyal fans
I prefer S-Cinetone for any lowlight situation. I find that Slog3 introduces way too much noise in the final image. I think S- cinetone is better for this because you don’t have to expose 1.7-2 stops above like Slog3 which means higher ISO.
Thanks for this. I was just about to ask the question about exposing 1.7 stops higher which has been working well for me in SLog. Thanks for confirming it’s not needed with S-Cinetone. But it’s good to have a second option to compare, and it does seemed more attractive in some scenarios including bright light
You do a fantastic job with your videos explaining everything clearly and concisely. Your touch of humor is also refreshing and funny without being a drag. Really good of you to share 😊
As a photographer of 23 years(Canon for 18 years) and a hybrid shooter for the last 7; I’ve recently switch to FX6 and 2x A7IV. S-log3 and Sony’s new color science looks really good. I can no longer complain about Sony colors. I think S-cinetone is fine but it just reminds me of jpeg shooters of 2005. Why shoot jpeg when you have so much control over log. If time is an issue(and not money)get a MacBook M1 Max. 😎
Just wanted to jump in and say thanks for putting out such excellent and informative content all these years. It's good to have a few reliable resources in this world of mostly nonsense. Keep up the good work Matt!!
Thanks for all these infos. Actually since I found Sony option of "Gamma monitoring assist" where I can put a Rec709 on the Slog3 I only shout in SLGOG3 + histogram (iso 800-6400) now without any trouble and I record A LOT of very low light clips (firecamp at night etc...) thanks for all these very great infos.
There's another reason it may be better not to shoot in S-Log 3 (Alistair Chapman discussed this in a video about the FS5 a number of years ago): If you're shooting something that doesn't have high contrast (and thus not making use of the sensor's full dynamic range), and/or you're shooting something in which you want the maximum information about the colour variation in the mid exposure range (i.e. studio green screen), S-Cinetone should produce a better picture quality. To explain: First, contrary to the way Matt describes it in this video, S-Cinetone doesn't "bake" the colour into your footage any more than S-Log does; they're both equally colour-gradable just in different ranges. The different profile settings distribute the colour information of your shot differently, but you still only have a fixed number of bits of possible colour values recorded. Shooting in S-Log distributes your bits of colour-depth (possible recorded colour values) more equally between the very bright, mid, and very dark ranges; that's why you're able to nicely recover highlights and shadows when grading without introducing banding and noise in those ranges. But, *putting more colour information into the highlights and shadows requires taking it away from the mids.* In high-contrast situations, that's a good trade off: When shooting 10-bit you have some levels of colour variation to spare, so putting them into highlights and shadows where you want to hold on to detail makes sense. But, when you don't have any extreme highlights and shadows (i.e. controlled even lighting), and it's important to be able to distinguish between subtle mid-range colour variations (i.e. green screen), then keeping as much colour information in the mids is critical. When you grade footage, you introduce noise in the range that you're expanding. If, in post, you brighten S-Cinetone in order to recover detail in shadows, you're taking the small number of colour values which are recorded in the shadows and expanding them across a wider range of the available colour values. At the same time, you're squeezing a large number of colour values recorded in the mids and highlights into a narrower range of the available colours. That's why, when you do this, you'll get some noise/banding in the shadows but the mids and highlights will still look great. Similarly, when you grade S-Log footage in order to give the footage proper contrast, you take the number of recorded colour values in the mids and expand them to a wider range of the available colours (making the brighter mids even brighter, and the darker mids even darker). This means you'll get some noise/banding in the mids, but the highlights and shadows will be fine. When editing green screen footage, any noise in the mid-range colour information reduces the quality of the key. Even if you're happy to grade log footage, when shooting any scene in which you won't end up needing the extra highlights/shadows information (such as in diffuse, evenly lit, indoor scenes, or when the final grading will be even higher contrast than what you would get S-Cinetone straight out of the camera), and especially when shooting studio green screen, *you'll achieve the best picture quality by avoiding log* and sticking with a standard profile like S-Cinetone.
I noticed that green screen was more difficult to key with SLog yes. Also I will add one scenario where you want to use Slog: RGB or club lights especially if you need to show faces. Cinetone will blast that saturation like crazy and skin tones will be gone
@@ErikLucatero I’ll have to try that! Matt did a video on this recently, and it was a bit over saturated if I remember correctly. I wonder if reducing the saturation in the picture profile would help with this?
great video matt! I think one thing to add is s-cinetone may be a great option for those that are color blind. Color grading is near impossible for me so im always looking for a camera that can give me a great look straight out of the camera. I would happily lose dynamic range over my color grading worries.
Grading Log doesn't have to be a pain. If you use color space transform in Davinci Resolve you get a perfect conversion every time, without using a LUT. Sometimes LUTS can make your footage look strange; however, Color space transform uses mathematical data for your camera color and gamma to match whatever color space and gamma you want to convert it to. Non-destructively.
@@dominicgray2187 Yes, that is one of the reasions CST and ACES transform in resolve were developed. Davinci resolve has another feature in the studio version that will actually match two different clips as well.
@@rockrecordreport7136 If you’re using compressed footage, you want to convert it into something much more edit friendly. That’s what converting to pro res or cineform will do for you. Less compression and easier to edit.
@@tylerjslattery I know what these intermediate codecs do and what they are for. My question is again - does SLOG3 and S-CINETONE profiles output (COMPRESSED) footage that still requires ProRes? Because nobody wants to talk about that. They all talk about dropping over LUTS, talk about color corrections, but FAIL to discuss that intermediate step required. Notice that?
Just here to say that after testing several PPs with my A7SIII I can say that cine 4 + ITU709 matrix is by far the best at least for me. Try it out and maybe you’ll like it too
Matt, thanks for the video. I've been away from Sony for about four years, and have just purchased the A74, and I'm very impressed with the improvements in color and AF that Sony has achieved. The A74 is quite a camera. I'm looking forward to going through your most recent tutorials for these cameras. I recall I hated S-LOg and could never make it look right. I'm hoping S-Log 3 won't present those problems, at least to the degree I experienced years ago. That notwithstanding I really love the skin tones and look of S-Cinetone. I'm glad they included it in the A74. I think it looks better than the Fujifilm film simulations---with much better 'everything else." I hope I can get confident with S-log 3 and get some of your presets for the log File. From one fellow Texan to another, thanks so much for taking the time to share your knowledge and expertise.
I have an a7s3 and my main complaint about slog3 is how impractical the iso range is. If I want anything above 640, I need to jump to 12800, which causes a significant colour shift and makes skin tones look unnatural. It’s fine for event shooting, but not for commercial work. I’m curious if cinetone is better for those situations where you need iso 2000-6400? If not, canon cameras seem to be more practical for most shooting situations. No one seems to be talking about this.
Exactly my question too! S-Cinetone is much more flexible for ISO right? Nobody is answering this of how to handle the massive gap between dual ISO’s in S-Log?
2 ปีที่แล้ว +2
Hi, with DaVinci Color management and DaVinci Wide Gamut set in your project, perfect color grading of s-log3 takes only 2 clicks
I have to admit log footage looks better, but the amount of work it takes to get it right is annoying and clients don't care. It's the difference between a very good image and an excellent one. Most videographers can spot that difference but most clients can't. For that reason I use S-Cinetone or another custom modified PP and save myself a whole lot of time and headache
I second that. That has been my experience as well. For clients the pictures they are are getting without all the hassle of grading are already an overkill. With a little bit of grading Cinetone can look fantastic to clients.
@Michael You are right! Also the ISO range is MUCH MORE flexible in S-Cinetone. In S-Log the ISO is crucial and there is a massive jump from 640 to 12,000 whatever…. How are you supposed to deal with that. Normally I have my shutter set at twice the frame rate and my aperture set for a nice optical look say f4 so then I use ISO as my floater for proper exposure. In S- log how you supposed to do that as you are way more constrained right? Right? Anybody????
My favourite Picture profile is "off" :D I prefer to spend my life taking videos rather than stuck in a darkened room colour grading. It makes me laugh as to how much time you guys waste on this, when no one will really notice (you are not filming the latest James Bond movie), so just please stop this madness - instead go out and spend your time taking and making interesting content. Your viewers won't even care if your footage is slightly over or under exposed, or you have less dynamic range, if you have something interesting to show. This is compensating for the fact peoples content is boring!!
11:43 you said"Shooting in S-log keeping 160 ISO is no recommended " Whereas later on your footage you clearly mentiond that SLOG footage is recorded on 160 ISO From 4:23 Onwards Though the shot is good :)
Hopefully you will get this message! What about doing a YT showing how to work with SLog3 and S-Cinetone in the same TL in DaVinci Resolve? Seems to me that both formats would be advantageous to use in certain scenarios. Color matching, at least close would be the tricky part.
Hello Matt! Your my favorite of all time! You rock! Love your videos and they are so informative... Could you please tell me what ND filter do you use for Sony A7 IV? Thank you and keep the good work!
This video helped a lot. I was just recently planning on filming some short documentaries/films with a collegue of mine and we weren't sure what profile to use, for the future I'll know what to use in any situation. Thanks a lot, Matt.
I always love your tuts, so simple and to the point…REQUEST, could you make a video on how to open 4K 10-BIT video on Mac (Thumbnails and Video) Thanks.
Matt, who are you? This was a video I wished I saw when I got my A7S3. Beautifully lit and exposed set too. Now I'm trying to work through your customisable button menu video so I can switch between S-Cinetone and SLog3 while all other video settings stay the same. Can the Sony buttons toggle between modes, or does there need to be a button for each setting? Edit: Oh yes, liked, subscribed and belled (if that is a word lol)
I will be filming business owner interviews in my studio with controlled lighting mainly for placement on their website. Obviously I will test SLOG3 against S-Cinetone but I’m sensing there may be a law of diminishing returns using log given the workload in post particularly if I apply your standard LUT to S-Cinetone footage. What do you think?
Thank you for the video Matt. My S-Cinetone footage looks very dark. It seems like I always have to bring up the exposure to 1.0 on Premiere and bring down the contrast all the way to like -75 or -100. This can't be right. What am I doing wrong, or are my settings somehow off on the Sony FX3. Please help. Thank you.
I shot 100 or so daily vlogs on SLOG. Same day turn on corporate event videos on SLog. IMO it comes down to the machine you have to edit on and your GRIT to get it done. Sounds like CineTone would not have worked in my case for indoor events :)
Hi Matt, thanks for your great explanations. My question: What would be the workflow if I want to mix S-Cinetone and S-Log 3 footage in one film? What LUTs would help?
Hey Matt, could you fix the link for the "Color Grading SLOG3 with LUTs Tutorial"? It actually points to the video "SLOG3 Color Grading Tutorial"( You can also see that the same link is pasted twice from one line to another in the description). I also wanted to mentioned how great your tutorials are. I love them! Not only are you a wonderful videographer but you are a phenomenal teacher! I am a big fan of the pace at which you talk and the clarity of your explanations. Keep up the great job!
Hey Matt! Thanks for the informative video. I'm still learning here, but when you say S-Cinetone are you referring to the Gamma or Color Mode? I show that option on both. I'm using an a6700 shooting in 8bit.
Cinetone for least amount of work, but still gives you some control Slog for when you have time HLG when you dont have an 10-bit system But which profile if I really dont want to/can do any editing? Which is best for that direct out of camera footage? The movie equivalent to JPEGs out of camera?
hey man, im looking at getting into vlogging mainly fishing, travel and adventure so mainly outside daytime stuff would you recon slog 3 would be best for that or s-cinetone also i do intend to watch your videos on colour grading.
8:36 You need to mention this at the beginning of every video for the noobs. People looking up your video are also shooting in 8bit. In this case, HLG3, according to the consensus, the better choice over Slog3, unless for the reasons you mention to use log3. If you do and you're recording 8bit, use a plugin that can get rid of banding and noise.
Matt, I know this sounds silly, but could you walk us through how you setup the s-cinetone picture profile? Is there any adjustments that you make in PP11 or do you just switch it to that and leave it standard? Also, I'm a little bit puzzled about this here. I purchased an FX6 several months ago, and I love it. They give you an option to shoot high or low ISO base using s-cinetone, and that has worked out great. On the a7siii, it seems to be a lot more complicated. Lastly, if you would be kind enough to run through the menu of the FX6, I'd be so very grateful!!!
@@whoismatt Hi Matt, love your videos. Canou give one on one Online training for Video shooting and Editing? I will like to know the cost and duration for training for beginner to Professional please..
Hi! 2 questions: flexible ISO is Not available while using PP11? Why Not ? And 2) what Are your Settings in PP11? To use it without - or minimal colorgrading? Thanks soo much
So I just started shooting in SLOG 3 on the a7siii -- I also use your LUTS. It would be so helpful if you made a video about how to know WHEN to stray from the native and dual native ISO's...I'm so fearful of noise in post, and we just filmed wedding that had HORRENDOUS lighting during the ceremony. Both really yellow ceiling lighting and huge windows behind the bride/groom. For example - you show the clip above at ISO 40,000 f4... I would think this would be SO noisy?? and what about when the bars show above/below ISO's too high? Ok, I'm done rambling. :) Your content is fantastic !
Hey matt great video but question…I have to shoot a DJ in a Club tonight would you recommend S Cinetone for that? I’m worried the base iso will be lower so I’m not sure
Would be nice if the Atomos Ninja V allowed for 4k60 passthrough to be able to apply a LUT record already color corrected footage to avoid doing anything in post. 😃
Amazing video Matt! I film weddings and use Cine 4 and I run into a constant problem with my white balance... specially in that mix lighting between different locations. So every time I go and put a LUT over my videos, people look way too orange and my videos look way too moody. Do you think S-log3 will help with this or would I still have to have my white balance perfect every time? I know you kinda mentioned that in the video but I wanted to confirm hahaha
Thank you very much! I might also say that for such a "head talk" shot would be good to have manual focus. I'm not a video nerd in any means but the hunting focus behind you distracted me very often.
Hey Matt... I just start using my Sony A7siii... Should I start with their newest software update or the original that comes with the camera is fine? Checking out your settings videos now
Hi!Great video!!I like to shoot in scinetone just to be faster!but which are the best,usable isos over 2000 iso to shoot in low light scenarios in a7siii??
Great Videos as usual Matt. I'm going to sound stupid but I've been shooting video for corporations but mostly weddings. I've shot 3/4 inch tape to beta svhs mini dv to digital. I bought this new fx30 camera because everyone is getting away from camcorders and i though it would be time for me to move up to this new way of shooting. With the new fx30 can i do a run and gun video shoot and edit and produce a good 4k video without going thru the slog3 process and get a good 4k video? Thanks in advance.
I also heard that using s cinetone is better in an environment where there is only very bright artificial light. And slog is better used with natural light. Is that true?
![[LIVE] : ONE ลุมพินี 88 | คู่เอก "ป้อมเพชร vs อัสลามจอน"](http://i.ytimg.com/vi/1ZqTVVbMgbo/mqdefault.jpg)
😍 Color grade SLOG3 and S-Cinetone FAST with my presets: whoismatt.com/luts
nice luts but its too expensive for me.
Any way to buy a single lut. 03 is the only one that I'd use.
Funny how this came out just as I was tinkering with these two profiles. Settled on s-Cinetone for the majority of work for two reasons: quicker turnaround for projects and a feeling that, because I spent $3500 on a camera, that camera should do most of the work. 😂 by the way, I find that if I protect the highlights when shooting and lift the shadows a little in post, they are plenty clean enough to get decent dynamic range.
I agree cinetone has quite a lot of dynamic range. Not as much as slog but you can film whole event easily with cinetone and adjust shadows or colors. Maybe its more challenging for outside a bit
TOTALLY!!
Matt not only the way you share your knowledge is priceless and by far one of the most well explained on TH-cam in my opinion but your LUTs look amazing and I'll definitely consider purchasing them. A huge thanks from one of your loyal fans
I prefer S-Cinetone for any lowlight situation. I find that Slog3 introduces way too much noise in the final image. I think S- cinetone is better for this because you don’t have to expose 1.7-2 stops above like Slog3 which means higher ISO.
Thanks for this. I was just about to ask the question about exposing 1.7 stops higher which has been working well for me in SLog. Thanks for confirming it’s not needed with S-Cinetone. But it’s good to have a second option to compare, and it does seemed more attractive in some scenarios including bright light
Matt, You make everything so easy with the way you explain it
You do a fantastic job with your videos explaining everything clearly and concisely. Your touch of humor is also refreshing and funny without being a drag. Really good of you to share 😊
As a photographer of 23 years(Canon for 18 years) and a hybrid shooter for the last 7; I’ve recently switch to FX6 and 2x A7IV. S-log3 and Sony’s new color science looks really good. I can no longer complain about Sony colors. I think S-cinetone is fine but it just reminds me of jpeg shooters of 2005. Why shoot jpeg when you have so much control over log. If time is an issue(and not money)get a MacBook M1 Max. 😎
Just wanted to jump in and say thanks for putting out such excellent and informative content all these years. It's good to have a few reliable resources in this world of mostly nonsense. Keep up the good work Matt!!
Thanks for all these infos. Actually since I found Sony option of "Gamma monitoring assist" where I can put a Rec709 on the Slog3 I only shout in SLGOG3 + histogram (iso 800-6400) now without any trouble and I record A LOT of very low light clips (firecamp at night etc...) thanks for all these very great infos.
Color grading on your content is smooth af to say the least
I really love S-Log 3! Glad that we have 10bit now to make it much easier to use!!
Agreed!
There's another reason it may be better not to shoot in S-Log 3 (Alistair Chapman discussed this in a video about the FS5 a number of years ago): If you're shooting something that doesn't have high contrast (and thus not making use of the sensor's full dynamic range), and/or you're shooting something in which you want the maximum information about the colour variation in the mid exposure range (i.e. studio green screen), S-Cinetone should produce a better picture quality. To explain:
First, contrary to the way Matt describes it in this video, S-Cinetone doesn't "bake" the colour into your footage any more than S-Log does; they're both equally colour-gradable just in different ranges. The different profile settings distribute the colour information of your shot differently, but you still only have a fixed number of bits of possible colour values recorded. Shooting in S-Log distributes your bits of colour-depth (possible recorded colour values) more equally between the very bright, mid, and very dark ranges; that's why you're able to nicely recover highlights and shadows when grading without introducing banding and noise in those ranges. But, *putting more colour information into the highlights and shadows requires taking it away from the mids.* In high-contrast situations, that's a good trade off: When shooting 10-bit you have some levels of colour variation to spare, so putting them into highlights and shadows where you want to hold on to detail makes sense. But, when you don't have any extreme highlights and shadows (i.e. controlled even lighting), and it's important to be able to distinguish between subtle mid-range colour variations (i.e. green screen), then keeping as much colour information in the mids is critical.
When you grade footage, you introduce noise in the range that you're expanding. If, in post, you brighten S-Cinetone in order to recover detail in shadows, you're taking the small number of colour values which are recorded in the shadows and expanding them across a wider range of the available colour values. At the same time, you're squeezing a large number of colour values recorded in the mids and highlights into a narrower range of the available colours. That's why, when you do this, you'll get some noise/banding in the shadows but the mids and highlights will still look great. Similarly, when you grade S-Log footage in order to give the footage proper contrast, you take the number of recorded colour values in the mids and expand them to a wider range of the available colours (making the brighter mids even brighter, and the darker mids even darker). This means you'll get some noise/banding in the mids, but the highlights and shadows will be fine.
When editing green screen footage, any noise in the mid-range colour information reduces the quality of the key. Even if you're happy to grade log footage, when shooting any scene in which you won't end up needing the extra highlights/shadows information (such as in diffuse, evenly lit, indoor scenes, or when the final grading will be even higher contrast than what you would get S-Cinetone straight out of the camera), and especially when shooting studio green screen, *you'll achieve the best picture quality by avoiding log* and sticking with a standard profile like S-Cinetone.
I noticed that green screen was more difficult to key with SLog yes. Also I will add one scenario where you want to use Slog: RGB or club lights especially if you need to show faces. Cinetone will blast that saturation like crazy and skin tones will be gone
Super helpful. So many people cannot explain the difference at this level for the life of them. Thanks!
Very good point about ISO for SLOG3!
I gotta be honest, I really love the skin tones from s-cinetone. I Haven't been able to match them using s-log 3
cinematch
What about filming cinetone color profile with S-log 3 gamma?
@@ErikLucatero I’ll have to try that! Matt did a video on this recently, and it was a bit over saturated if I remember correctly. I wonder if reducing the saturation in the picture profile would help with this?
@@ErikLucatero nope
Try Leeming LUT
great video matt! I think one thing to add is s-cinetone may be a great option for those that are color blind. Color grading is near impossible for me so im always looking for a camera that can give me a great look straight out of the camera. I would happily lose dynamic range over my color grading worries.
Just make sure you get "white" right.
Fujifilm will save your life. Their Film simulations are unbeatable .
Who else is here, watched the entire vid yet don’t own a camera that can shoot s-cinetone? 🤣
I was just like you up til recently
Only you
@@z352kdaf8324 it was actually me too up until only recently
There are ways to get scinetone on cameras without scinetone. So for a a7iii for example. Just search for it
😂 i have a6300 , S-Cinetone its like using Cine4
Grading Log doesn't have to be a pain. If you use color space transform in Davinci Resolve you get a perfect conversion every time, without using a LUT. Sometimes LUTS can make your footage look strange; however, Color space transform uses mathematical data for your camera color and gamma to match whatever color space and gamma you want to convert it to. Non-destructively.
Do you find this works well w/ matching different cameras?
@@dominicgray2187 Yes, that is one of the reasions CST and ACES transform in resolve were developed. Davinci resolve has another feature in the studio version that will actually match two different clips as well.
So is a conversion to ProRes or Cineform no longer required when doing major work on footage like this?
@@rockrecordreport7136 If you’re using compressed footage, you want to convert it into something much more edit friendly. That’s what converting to pro res or cineform will do for you. Less compression and easier to edit.
@@tylerjslattery I know what these intermediate codecs do and what they are for. My question is again - does SLOG3 and S-CINETONE profiles output (COMPRESSED) footage that still requires ProRes? Because nobody wants to talk about that. They all talk about dropping over LUTS, talk about color corrections, but FAIL to discuss that intermediate step required. Notice that?
Thank you for keeping basic
Just here to say that after testing several PPs with my A7SIII I can say that cine 4 + ITU709 matrix is by far the best at least for me. Try it out and maybe you’ll like it too
Sameeee
Really enjoyed this boss. Gonna snag those LUTS for Cinetone for sure.
Really appreciate your work. Thank you for your videos. They are making the world of difference for me.
Always the best videos Matt :)
Matt, thanks for the video. I've been away from Sony for about four years, and have just purchased the A74, and I'm very impressed with the improvements in color and AF that Sony has achieved. The A74 is quite a camera. I'm looking forward to going through your most recent tutorials for these cameras. I recall I hated S-LOg and could never make it look right. I'm hoping S-Log 3 won't present those problems, at least to the degree I experienced years ago.
That notwithstanding I really love the skin tones and look of S-Cinetone. I'm glad they included it in the A74. I think it looks better than the Fujifilm film simulations---with much better 'everything else."
I hope I can get confident with S-log 3 and get some of your presets for the log File.
From one fellow Texan to another, thanks so much for taking the time to share your knowledge and expertise.
Thanks William!
It is best to use the Phatom lut with S Log 3.
I have an a7s3 and my main complaint about slog3 is how impractical the iso range is. If I want anything above 640, I need to jump to 12800, which causes a significant colour shift and makes skin tones look unnatural. It’s fine for event shooting, but not for commercial work. I’m curious if cinetone is better for those situations where you need iso 2000-6400? If not, canon cameras seem to be more practical for most shooting situations. No one seems to be talking about this.
So Canon cameras don't have an equivalent of Slog?
Exactly my question too! S-Cinetone is much more flexible for ISO right? Nobody is answering this of how to handle the massive gap between dual ISO’s in S-Log?
Hi, with DaVinci Color management and DaVinci Wide Gamut set in your project, perfect color grading of s-log3 takes only 2 clicks
Awesome but can you elaborate a bit on those settings/features?
@@iamteedoh Hi, many tutorials on TH-cam. I won't enter into details. For instance : th-cam.com/video/rpKAY7CK9Gw/w-d-xo.html
@ thanks!
Great video. I use my main A7iv for weddings and 2 x A7iii's. I'd love to match the S-Cinetone on my A7iii's or at least get close.
I love you Matt. Thanks for your videos.
Wow i got new knowledge about minimum ISO when shot S-LOG 3,very interesting tutorial ,thanks for this sharing
I have to admit log footage looks better, but the amount of work it takes to get it right is annoying and clients don't care. It's the difference between a very good image and an excellent one. Most videographers can spot that difference but most clients can't. For that reason I use S-Cinetone or another custom modified PP and save myself a whole lot of time and headache
I second that. That has been my experience as well.
For clients the pictures they are are getting without all the hassle of grading are already an overkill.
With a little bit of grading Cinetone can look fantastic to clients.
@Michael You are right! Also the ISO range is MUCH MORE flexible in S-Cinetone. In S-Log the ISO is crucial and there is a massive jump from 640 to 12,000 whatever…. How are you supposed to deal with that. Normally I have my shutter set at twice the frame rate and my aperture set for a nice optical look say f4 so then I use ISO as my floater for proper exposure. In S- log how you supposed to do that as you are way more constrained right? Right? Anybody????
My favourite Picture profile is "off" :D I prefer to spend my life taking videos rather than stuck in a darkened room colour grading. It makes me laugh as to how much time you guys waste on this, when no one will really notice (you are not filming the latest James Bond movie), so just please stop this madness - instead go out and spend your time taking and making interesting content. Your viewers won't even care if your footage is slightly over or under exposed, or you have less dynamic range, if you have something interesting to show. This is compensating for the fact peoples content is boring!!
Great video. I'm curious on how do you shoot with ISO 25600 and have almost no grain on the footage
11:43 you said"Shooting in S-log keeping 160 ISO is no recommended " Whereas later on your footage you clearly mentiond that SLOG footage is recorded on 160 ISO From 4:23 Onwards Though the shot is good :)
Awesome stuff
Hopefully you will get this message! What about doing a YT showing how to work with SLog3 and S-Cinetone in the same TL in DaVinci Resolve? Seems to me that both formats would be advantageous to use in certain scenarios. Color matching, at least close would be the tricky part.
Love you bro
Your video helps alot
Learning a lot from you and enjoy watching your videos 📹
Hello Matt! Your my favorite of all time! You rock! Love your videos and they are so informative... Could you please tell me what ND filter do you use for Sony A7 IV? Thank you and keep the good work!
PrismlensFX make great ND filters
Just when you thought your videos couldn’t get any more pro.. boom.. you surprise us again..
FX6 will handle slog3 much better. Love this camera.
FX6 is so good!
Can you do one on slog3 at super low light I’m having a hard time exposing foe super low light situation like towards the end of a wedding
This video helped a lot. I was just recently planning on filming some short documentaries/films with a collegue of mine and we weren't sure what profile to use, for the future I'll know what to use in any situation. Thanks a lot, Matt.
I always love your tuts, so simple and to the point…REQUEST, could you make a video on how to open 4K 10-BIT video on Mac (Thumbnails and Video) Thanks.
Update to latest OS. Use VLC
Matt, who are you? This was a video I wished I saw when I got my A7S3. Beautifully lit and exposed set too.
Now I'm trying to work through your customisable button menu video so I can switch between S-Cinetone and SLog3 while all other video settings stay the same. Can the Sony buttons toggle between modes, or does there need to be a button for each setting?
Edit: Oh yes, liked, subscribed and belled (if that is a word lol)
I believe you can set a custom button to switch picture profiles :)
impressive video dude ! Matt is my Man ! Hails from İstanbul/TURKEY
Great. Thanks for this. It’s good to have both options and it’s starting to make sense for me at last what are the advantages of each.
Matt, you saving our life bro 🤗, what pp you suggest for stills in a7siii with wdr ?
I will be filming business owner interviews in my studio with controlled lighting mainly for placement on their website. Obviously I will test SLOG3 against S-Cinetone but I’m sensing there may be a law of diminishing returns using log given the workload in post particularly if I apply your standard LUT to S-Cinetone footage. What do you think?
If you have controlled lighting I would go with S-cinetone :)
Cool 😎 that was my gut feeling and you have just given me a profit boosting workflow 👏
Is their a picture profile or lut that will give me a beard like yours ?
Thank you for the video Matt. My S-Cinetone footage looks very dark. It seems like I always have to bring up the exposure to 1.0 on Premiere and bring down the contrast all the way to like -75 or -100. This can't be right. What am I doing wrong, or are my settings somehow off on the Sony FX3. Please help. Thank you.
I shot 100 or so daily vlogs on SLOG. Same day turn on corporate event videos on SLog. IMO it comes down to the machine you have to edit on and your GRIT to get it done. Sounds like CineTone would not have worked in my case for indoor events :)
Amazing video and explanation ! Thank you so much !
Thank you for this info! Subscribed.
happy that i subscribed you! u helping me a lot to learn better my sony zv-e10
Das Model hatte richtig Bock :D
Hi Matt, thanks for your great explanations. My question: What would be the workflow if I want to mix S-Cinetone and S-Log 3 footage in one film? What LUTs would help?
Hello Bernd use Filmconvert or Cinematch 🙂
my question iswhat profile to use with the a74 using green screen
Hey Matt, could you fix the link for the "Color Grading SLOG3 with LUTs Tutorial"? It actually points to the video "SLOG3 Color Grading Tutorial"( You can also see that the same link is pasted twice from one line to another in the description). I also wanted to mentioned how great your tutorials are. I love them! Not only are you a wonderful videographer but you are a phenomenal teacher! I am a big fan of the pace at which you talk and the clarity of your explanations. Keep up the great job!
Hey Matt! Thanks for the informative video. I'm still learning here, but when you say S-Cinetone are you referring to the Gamma or Color Mode? I show that option on both. I'm using an a6700 shooting in 8bit.
Perfect explanation THNX!
What are you thoughts on cine 4. Pro compared to scinetone
Cinetone for least amount of work, but still gives you some control
Slog for when you have time
HLG when you dont have an 10-bit system
But which profile if I really dont want to/can do any editing? Which is best for that direct out of camera footage? The movie equivalent to JPEGs out of camera?
I’d use a cinetone
hey man, im looking at getting into vlogging mainly fishing, travel and adventure so mainly outside daytime stuff would you recon slog 3 would be best for that or s-cinetone also i do intend to watch your videos on colour grading.
Exactly what I was looking for :-)
What software do you use to grade your footage?
super tuto. Clear now !
8:36 You need to mention this at the beginning of every video for the noobs. People looking up your video are also shooting in 8bit. In this case, HLG3, according to the consensus, the better choice over Slog3, unless for the reasons you mention to use log3. If you do and you're recording 8bit, use a plugin that can get rid of banding and noise.
Great video. In Davinci, what should I configure when applying CST (or color management) for s-cinetone?
Matt, I know this sounds silly, but could you walk us through how you setup the s-cinetone picture profile? Is there any adjustments that you make in PP11 or do you just switch it to that and leave it standard?
Also, I'm a little bit puzzled about this here. I purchased an FX6 several months ago, and I love it. They give you an option to shoot high or low ISO base using s-cinetone, and that has worked out great. On the a7siii, it seems to be a lot more complicated.
Lastly, if you would be kind enough to run through the menu of the FX6, I'd be so very grateful!!!
My previous video to this one will do that :)
@@whoismatt I did watch that video, but perhaps I missed that part! I will watch it again 😅
@@whoismatt Hi Matt, love your videos. Canou give one on one Online training for Video shooting and Editing? I will like to know the cost and duration for training for beginner to Professional please..
Such an awesome video. Thanks for sharing.
Hi Matt, awesome video as i am looking for "How to Video's using SONY A7R4" Hope this video helps me to understand few things.
G'day Matt...I luv ur luts...I'm thinking to get a combo pack...u have sale or discount atm?
Absolutely love your videos!
Note for everyone watching, iso 640 in slog3 is exactly as bright as iso 100 in s-cinetone or any other base iso in any other PP ...
Hi! 2 questions: flexible ISO is Not available while using PP11? Why Not ? And 2) what Are your Settings in PP11? To use it without - or minimal colorgrading? Thanks soo much
So I just started shooting in SLOG 3 on the a7siii -- I also use your LUTS. It would be so helpful if you made a video about how to know WHEN to stray from the native and dual native ISO's...I'm so fearful of noise in post, and we just filmed wedding that had HORRENDOUS lighting during the ceremony. Both really yellow ceiling lighting and huge windows behind the bride/groom. For example - you show the clip above at ISO 40,000 f4... I would think this would be SO noisy?? and what about when the bars show above/below ISO's too high? Ok, I'm done rambling. :) Your content is fantastic !
Hey matt great video but question…I have to shoot a DJ in a Club tonight would you recommend S Cinetone for that? I’m worried the base iso will be lower so I’m not sure
great vid and great info, thanks
Matt thanks for the content! quick question what would be the best ISO setting for S-cinetone on the high end for the Fx3? Would It still be 12,800?
Thank you so much for this video. One question: which settings do you use for cinetone?
hey mate nice vid as always one question for buddy what profile would you use for TH-cam vdoes on a A7S3
clear and comprehensive. Thanks a lot !
You are so full of knowledge. Thanks for sharing it with us. Subscribed.
Would be nice if the Atomos Ninja V allowed for 4k60 passthrough to be able to apply a LUT record already color corrected footage to avoid doing anything in post. 😃
If you were making footage to go on a 30 foot movie theater screen
, or bigger would you choose s log or pro res?
?
Perfect Thanks 😊
Amazing video Matt!
I film weddings and use Cine 4 and I run into a constant problem with my white balance... specially in that mix lighting between different locations. So every time I go and put a LUT over my videos, people look way too orange and my videos look way too moody. Do you think S-log3 will help with this or would I still have to have my white balance perfect every time? I know you kinda mentioned that in the video but I wanted to confirm hahaha
Thanks! You’ll want to manually dial in your Kelvin. If things look too orange when you apply your lut try dropping your Kelvin 500K lower
Thank you very much! I might also say that for such a "head talk" shot would be good to have manual focus. I'm not a video nerd in any means but the hunting focus behind you distracted me very often.
Probably a very silly question but which Picture Profile is S-Cinetone in the Sony A7s3 and/or how would you suggest setting it for this? Thanks!!
I believe the biggest question is do you shoot with a 8bit camera or with a 10bit, slog3 with 8bit is not ideal 🎥
Matt, is there a S-Cinetone mode with HDR? Would love something better than the HLG footage straight out of an iPhone 14 Pro. Thanks.
Very informative. Where does HLG stand when compared to s-log 3? My workflow is rec2020 HDR.
2:30 just when I thought it couldn't get worse it did.
what about a7iii and its 8bit colours? Is it still a good idea to film in sLog?
> Reads title...
"Ah, me, a Canon DSLR user... you guys get picture profiles?"
Side note; your LUTs were great to use.
😂👍
Hey Matt... I just start using my Sony A7siii... Should I start with their newest software update or the original that comes with the camera is fine? Checking out your settings videos now
I would update the firmware
Hey Matt. For stuff like filming rivers and kayaking would the new Sony a7r5 compete with the Sony as73 since it doesn't have 120fps?
Hi!Great video!!I like to shoot in scinetone just to be faster!but which are the best,usable isos over 2000 iso to shoot in low light scenarios in a7siii??
Great Videos as usual Matt. I'm going to sound stupid but I've been shooting video for corporations but mostly weddings.
I've shot 3/4 inch tape to beta svhs mini dv to digital. I bought this new fx30 camera because everyone is getting away from camcorders and i though it would be time for me to move up to this new way of shooting. With the new fx30 can i do a run and gun video shoot and edit and produce a good 4k video without going thru the slog3 process and get a good 4k video?
Thanks in advance.
Thank Sir. Great video. Looking forward to checking out and sharing your channel.
I also heard that using s cinetone is better in an environment where there is only very bright artificial light. And slog is better used with natural light. Is that true?