I watched som of his other stuff, "revew" here too, shit guy does not know anyting about cameras or videoshooting.

Thank you so much for the sub, that Panasonic is a beast and ive also been considering getting the ZV as a walk around cam. How is it?

Exactly, ive seen so many creators tell people that they should only use S-Log and im like why??

Just one reason why you should use Slog3, and not just Slog3 but all log profiles not just for Sony Cameras but all cameras that has Log: Color Management. With Log profiles, you can easily color manage and mix and match cameras. And this reason tops all reason you can think of

@@426Studios Sure, but once you have your LUT, you can use it your it in camera in a custom PPLUT. It is still Slog with all its benefits, cuts down on. I think people confuse comercial and creative work, with when you are just documenting real life. Slog offers more flexibility in post but it might come at the price of having to spend hours in post instead of getting it just right with a custom camera LUT or PP that you like.

@@nyambe I am not sure on Premiere Pro because I already switched to Davinci years ago, but I can assure you in Davinci Resolve, you don't need to spend hours to get it right. There's RCM (Resolve Color Management) if you want to transform a log footage to Rec709 in a project basis. You actually don't to spend hours to get it right. If the lighting is wack, no matter what profile you are using, you still need to spend time to make that clip useable. With Slog3, it could be a lifesaver because you have more leeway on post.

@@nyambe and I actually use Slog3 even if I am just documenting real life. Its actually very easy with Resolve Color Management. By the way, if the NLE you are using doesnt have color management, there are actually official LUT made by the manufacturer of the camera like official Slog3 to Rec709 LUT, Vlog to Rec709 LUT, Clog to Rec709 LUT, etc. You can use them to immediately transform your image to rec709 not just during the shooting but also on post. As for shooting, there are tools included in your camera so you could actually see what the image looks like. For Sony, it's called gamma assist so you could get it right from the start of shooting.

Thanks for watching! I love the A7iv and will have a good chunk of videos coming soon. Bless 🙏🏿

Thanks for watching, and commenting here as well. I have an S-Log workflow very similar to yours. I still find that going to s-cinetone for talking head and vlog stuff is great. That way the cinematic stuff shot in S-log can still stand out. Bless 🙏🏿

Thanks for watching, and yeah that is correct and I was incorrect at the time of this video. Unfortunately I compared files that were shot in 24fps vs 60 fps. Bless! 🙏🏿

Ok! 😅@@Mperrymanstudios

Thank you for watching 🙏🏿. I also add saturation, sharpness and a little contrast. It has cut off tons of time in my workflow.

Youre 100% correct, thank you. I remember the first time I tried and I wondered why there was no option for 100 on the A7IV. 🙏🏿💯

@@Mperrymanstudios Well taken sir. 💫

They do, it's the s709 lut

Definitely shoot 10 bit, because I almost always still want to play with it in post.

n3716 10 bit S-cine smaller file size compared to S-log 10 bit I'm assuming?

S Cinetone will already have alot of color baked in so you dont want to go too heavy with a lut. I use a lut pack I purchased from another creator @ycimaging

Thanks Brian I appreciate the sub, and im already editing another one coming soon. 🙏🏿 bless

PP11 is already set to be S-Cinetone by default.

@@Mperrymanstudios Gotcha . Thanks

Thanks for that info, have a blessed day.

Thanks for watching my guy! Bless up 🙏🏿

@@Mperrymanstudios Thank you and GOD Bless

In S-Log 3 I usually overexpose all the way up to 1.7 to get clean footage, but S-Cinetone no need.

@michaelperryman3716 I do 1.7 mm but in low light it's hard to do ...like little noise appears.

This is a misconception. Picture profiles doesn't affect noise floors, ISO does. Gerald Undone actually demonstrated this on his a7s3 review. It's a very comprehensive review but you should watch it properly or you will misunderstand.

So here's the misconception: You need to overexpose Slog3 to have a clean image. Real answer: You actually don't. Instead, use the native ISOs and make sure you exposed properly. For low light situation, use the 2nd native ISO. And this is the 2nd misconception, and most likely due to the misunderstanding of Gerald Undone's video: how to expose properly. ISO actually doesn't expose the image. It doesn't make the sensor receive more light, instead it adjusts gain, meaning it digitally increases the brightness of the image, does creating more noise, no matter the profile used. Instead, you should add more light to the scene if the image is too dark, or use a fast lens and open up your aperture to receive more light. And here comes the 3rd misconception. Noise. ISO is actually a gain. It increases brightness digitally so no matter what the profile is, the higher the ISO you use, the noise it gets. It's best to watch properly Gerald Undone's a7s3 video but to explain it, they actually have the same noise. For example on a7s3, ISO 80 for pp off has actually have the same noise vs ISO 640 for Slog3. It's because that's the native ISO for both profiles. Also they actually have the same brightness. The difference is that PP off (rec 709 including Cinetone) has a lot more contrast baked in vs Slog3 even when transforming the Slog3 to rec709. Because of this, the noise floor is already pushed down on rec709 profiles but at the cost of dynamic range. For lowlight situations, most likely you'll have crushed shadows and overblown highlights whereas Slog3 will have more information on those areas. Due to this, the noise floor for Slog3 is at 10 IRE so noise will be more noticeable if you zoom in the image. Now, try matching the rec709 shadows to a properly transformed Slog3 (transformed either by CST or Sony's official Slog3 to rec709 LUT) . Because rec709 has already a lot of contrast baked in, to match Slog3 you will raise the shadows in rec709 profiles, then the noise will become noticeable because you also raised it's noise floor. Conversely, if you try to match Slog3 with the uncorrected rec709, you will push down the shadows, thus also pushing down the noise floor so the noise won't be noticeable anymore.

Flow.

Thanks for the valuable input my guy 🤦🏿‍♂️

Thanks for the info. Stay blessed 🙏🏿

People who can’t be bothered to grade OR don’t have the time to grade. There, I fixed it for you!! 😊