What picture profile do you like the most for Video?

[Drew_Geraci]

I'm always a fan of being able to control my highlights, mid-tones, and shadows in post so I usually do most of my filming in S-LOG3/S-Gamut3.Cine. I'm curious how many people shoot in PP11 (S-Cinetone) vs PP7/8 (SLOG2/3) and why. 

 

Do you like doing your own color-grading or do you prefer to have it already baked in before you get to editing? Let me know what your favorite go-to settings are! 

[alxstevens]

We tend these days to shoot a lot in S-Cinetone, mostly for ease and speed.  It looks really good (90%+ as good as what we'd end up grading to) and saves a ton of time not only in post but even on set, matching cameras and not having to deal with LUTs on any monitor that non-sophisticated clients are looking at.

Basically for us, the juice of S-LOG/S-Gamut is not worth the squeeze over S-Cinetone.

[IraBlock]

I try to keep things simple, so i shoot in S-Cinetone. Minimal grading and if using multiple cameras the profiles look the same.

[CarolineJensen]

I'm posting to follow. I'm so interested in this! 

[Drew_Geraci]

We tend these days to shoot a lot in S-Cinetone, mostly for ease and speed.  It looks really good (90%+ as good as what we'd end up grading to) and saves a ton of time not only in post but even on set, matching cameras and not having to deal with LUTs on any monitor that non-sophisticated clients are looking at.

Basically for us, the juice of S-LOG/S-Gamut is not worth the squeeze over S-Cinetone.

Yeah, I agree, S-Cinetone is like the perfect middle ground for pre-graded footage with just enough latitude to allow you to make meaningful changes without having to dive too deep into the actual color grade. It's definitely faster than grading SLOG2/3. 

The only time I've seen SLOG2/3 outperform S-Cinetone is when it comes to drastic changes of light/exposure in the scene and something is super blown out. It also works better for HDR content. 

[AndyMann]

PP8! I find it has the most workable range when color-correcting in post. 

[Drew_Geraci]

PP8! I find it has the most workable range when color-correcting in post. 

I agree! PP8 is my go-to as well 🙂 

[pm-r]

S-Cinetone all the way...

[davidmclain]

I'm posting to follow. I'm so interested in this! 

I always shoot in S-log because I always work with a colorist. My advice: If you are not working with a colorist shoot S-Cinetone b/c it looks good out of the camera. If you are working with a colorist shoot S-log b/c it will give the colorist more latitude in post.

[Uhlinmedia]

Hey! I am a colorist and of course I want to work with S-log, preferably PP8 S-log3/S-gamut3.Cine. This is because many times the customer wants a special look, and usually there are several camera types involved in a film project, then it is easier with S-log3. But S-cinetone has fantastically good colors.

[tonygale]

We tend these days to shoot a lot in S-Cinetone, mostly for ease and speed.  It looks really good (90%+ as good as what we'd end up grading to) and saves a ton of time not only in post but even on set, matching cameras and not having to deal with LUTs on any monitor that non-sophisticated clients are looking at.

Basically for us, the juice of S-LOG/S-Gamut is not worth the squeeze over S-Cinetone.

I agree on s-cinetone, because it is so easy to work with!

[Drew_Geraci]

Hey! I am a colorist and of course I want to work with S-log, preferably PP8 S-log3/S-gamut3.Cine. This is because many times the customer wants a special look, and usually there are several camera types involved in a film project, then it is easier with S-log3. But S-cinetone has fantastically good colors.

I agree! I think both S-Cinetone and SLog3/S-Gamut3.cine are the two best options to choose for the best color grading options. 

[AndyMann]

SLog3 (PP8) has been my go to for may projects including the new launch video for the A7RV! 

[davidmclain]

Here's a great link to an in-depth article on low light shooting in Slog3 vs S-Cinetone by Alister Chapman. For those of you not familiar with Alister, his blog and newsletter are a must for anyone shooting video on Sony. I'm consistently amazed at how much he knows and how thoroughly he explains it. I'm a total fan.

[MikeHenderson]

I've switched to S-Cinetone on the A7siii and FX3. It really does the job. I had been using HLG3, but color correction is not my jam. If I really need range, I use Slog and match it with cinetone. Usually I'll only shoot log for interviews with challenging lighting.