You seem to get more contrast (and more apparent saturation) the lower your exposure goes.įor ‘out of the camera’ profiles like this, I try to expose normally, as if the pictures are going to be used by my clients without tweaking. S-Cinetone is quite desaturated, especially in the highlights. These settings are designed to be used straight out of the camera with little grading. Hopefully, at some point, Sony will succumb to pressure and give us an official S-Cinetone version as a firmware upgrade!īelow are the settings I used to achieve this result:
I’m not precious about these settings and if anyone has suggestions on how it can be improved, I’d be happy to incorporate them. In the end, I think I got close and it’s working well for me and my clients, but I’d really love to hear if it’s useful for other A7S III users as well. you can line everything up perfectly on the scopes and then find slight color differences in real-world pictures, so it’s a very time-consuming repetitive task of tweak and check until you get as close as you can. The process isn’t made any easier by the ‘Original’ S-Cinetone gamma which is missing from the A7S III. I also used a Blackmagic ATEM switcher so that I could half wipe between charts in real-time to a calibrated monitor. The picture profile in the A7S III was then adjusted to match the standard FX9. The strange thing is…. I used my FX9 as the S-Cinetone benchmark with controlled lighting and reference color charts routed through to Scopebox and Resolve. I’m sure many camera operators will want to use it this way and that’s why I decided to have a go at finding a close ‘Cinetone’ color profile to use on ungraded two camera shoots for my clients. This is strange because it’s clearly a video focused hybrid with the right 10bit codecs to make it a great ‘B’ camera for both the FX9 and FX6. The one new camera from Sony that doesn’t include the S-Cinetone profile is the A7S III.
S-Cinetone doesn’t give you an exact copy of the Venice look, that would be impossible without the same sensor or CFA. However, it’s really close and provides a lovely cinematic feel which clients love, especially as it doesn’t need much in the way of grading. Obviously, many people have been hoping that this ‘Venice look’ would filter down the whole range of Sony cinema cameras. First the FS5 II got something similar, but then the FX9 arrived with S-Cinetone and now closely followed by the FX6.
#Scopebox with a7s skin#
We all got used to the slightly magenta ST5 709 colors from Sony cameras until the Venice came along and changed everything. Suddenly we had a very pleasing ‘ filmic’ look with great skin tones right out of the box.
#Scopebox with a7s tv#
For many years now, Sony has had great success in selling REC709 TV cameras to the broadcast market, and clearly, having a consistent ‘ look’ across the whole range was important.
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