Thanks for mentioning exposure techniques for nonwhite subjects. This really doesn't come up much on filmmaker youtube and it's nice not to feel erased.

Super helpful, thanks. Absolutely S-Cinetoned my pants when the music came in at 07:19 though

The last firmware update to the FX9 adjusted the WB presets to get rid of the "greenish" color cast.

I’m working on a show for Discovery channel here in the states and we just switched from fs7’s shooting std5 (post doesn’t want s-log) to FX9’s and 1-Fx6 shooting s-CInetone and the show looks great so far! It’s a studio indoor competition show so it’s very controlled, mostly indoors and even when we go outside for some challenges highlights hold decent. So far thumbs up all around.

The S. Cine.Tone looked considerably more pleasing and definitely more saturated and cine-like with its colour gammit than the regular S-3. Also, the Venice images certainly do stand out - in some cases more dramatically than others. The A7SIII looked better than the FX3 to my eye as well.

I shot a event together with a friend and we used the fx9, fx6 and a7siii and we used this time cinetone AND the pictures were not identical. Maybe the different lenses caused this but i wish there was a way to match them very fast. Imagine a Color checker and a hdmi device. you plug all cameras in and you film the same chart and then it sets up the internal settings so that the camera match as good as possible. On shoots like this we only have time to set up the same white balance and exposure and then we have to start. IT would be cool if sony could develop something like this "automatic calibrator"

That Venice shot at 9:35 ...whoa! ...that's nice. Also very nice is your talking head shot throughout your presentation. What gear are you using for that shot? I'm going to guess that it's a RED because the highlights are so nice (or you might just have a mountain of mist filters in front of the lens), but it might be a little flat looking for a RED? hmmm

Was the FX9 updated with the latest update that is supposed to get rid of that green cast?

Great video. Really timely for me right now.

Awesome comparison, thanks!

The FX3 really has an incredible package for professional video work considering his fair price tag. Competes with much more expensive cameras, it’s quite amazing. Fantastic image quality from any of 2021 Sony’s Cinema Line cameras really. Great job!

Nice in-depth look. Thank you.

Helpful stuff!

Great video!

Great Review. Thanks

Glad to hear a professional say they prefer it slightly underexposed, cause I do as well, and felt like I was the only one that preferred shooting in S-Cine this way

Great video. I appreciate sony products.

Nice video!

Slog3 still stronger, more daring. Cinetone is bringing something close to "contrastless Sony yellowfaced gamma". It would be nice just to watch a comparison between logs and tone just in Davincj Resolve still gamma LUTtoRec709 + curve edit to -1 stop. I know here lies a forest of "actuallies", but giving people only the portrait at neutral bgrnd, and hard street sunlight gives us a clear view that Slog3 is not giving up. Thank you for video. Like.

Amazing 💖🙏

Can you help in matching other sony cameras that dont have s cine tone in camera? Or is it even possible ?

I personally have zero use for cinetone. If I need a fast, delivery ready look out of camera I can just bake in an mLUT on top of slog3 and call it a day. Joel Famularos Arri Neutral LUT just gives me everything I wish cinetone did

Hi, thank you for the video. May I ask what adapter from E to a PL mount for Arri Zeiss ultra prime lens do you recommend for the best performance please?

With the recent Resolve 17.2 update that includes gyroscope support for the Sony Venice, would it be possible for you guys to upload some unprocessed Venice clips for download? It's remarkably difficult to find any online from the last year when they added gryroscopic data in firmware 5

As pretty as S-Cinetone is, my grading workflow is using Resolve Color Management, so getting a r709 base is automatic, and grading in a wide gamut space like ACES and DWG has gotten really comfortable for me. It might be worth attempting to build a color matrix for sLog3 that matches to S-Cinetone somewhat.

Do you at all find it frustrating that slog3 on each of the FX cameras don't match out of camera when applying the lut?

another great video I receive Friday a new SonyA1 so for cinetone what is the best settings .Thanks

good job

I cannot find the setting for S-Cinetone on Sony FX-6. Where is it???

What about S-Log 3 as the gamma and S-cinetone as the color space? Best of both worlds?

thanks

It's hard to be excited about Cinetone after using Phanton LUTs. Maybe I'll use Cinetone for projects that need to get out faster than usual.

I have a question.... I am starting a production based on short films and documentaries..... I am planning to buy blackmagic pocket CInema camera 6k pro..... Should I go for it Or should I consider something else.... Please respond.

if you read the manual, it clearly says that sgamut is just a modified rec709, hence the price of those cameras compared to venice

Really good video 👍🏻 I have the fx6 but I am still in testing phase and have some problems to find the right exposure 🥴 I canˋt find the metering in my fx6 menu 🤔 i think there is no function exposure metering in the fx6, or? best cinematic greetings from germany 🎞 #filmmakingismypassion

Dang that moire on the fx 3 for the interior shots….

Great video, thanks

Wow. We love BRAW and Blackmagic's colour science so much we forget how well Sony does.

Can you do a comparison between slog 3 Vs slog 2. And 10 bit Vs 8 bit on those profiles.

Why do the FX6 test frames look cropped in? I'm assuming you shot in 4K UHD? Also, the clip of the sky @ 11:53 has some artifacts/blocking, can we explain that away to YT compression?

Good video. To be honest, I was expecting to disagree with a lot of what this video might have to say about S-Cinetone but it actually confirms most of the things I talk about in my 7-hour FX6 master class. kzfaq.info/get/bejne/b5t3kq-d1NO7h4U.html If you listen to what he says, what he does do NOT say, and look at the footage he show, this is not exactly a ringing endorsement for S-Cinetone. Agree with that attitude. -- Clearly S-LOG3 always beats S-Cinetone if you have the time for proper grading in post. -- Although it is supposed to be WYSIWYG, S-Cinetone often needs to be graded anyway to get the most from it, so why not just shoot S-LOG3 in the first place? -- Exposure for S-Cinetone is problematic because of the way the reproduction of skin tones and other parts of the image change dramatically at different exposures, thus making challenging to get a consistent look from shot to shot. -- S-Cinetone looks pretty bad outdoors in bright light or scenes with high contrast because it is designed primarily for shooting human beings indoors, with low contrast, a little under-exposed, darkish scenes. When you go outside of that type of scene, it falls apart very quickly. I think the biggest shortcoming of the FX6 is the total lack of paint menus and gamma options that will allow us to actually create a nice all-around WYSIWYG image onboard the camera that will look great in many different shooting scenarios besides human faces. Sony has designed S-Cinetone to provide "cinematic" images when no time for effort will be put into grading. Think of S-Cinetone as being kind of an "auto" mode for getting WYSIWYG images that are sometimes going to be good enough that certain clients and viewers will accept them. But the problem is that S-Cinetone is only going to look good enough for a discerning viewer under a very narrow set of conditions. Sony's previous cameras, such as the FS7, F55, FX9, etc. provide far more tools for getting a decent WYSIWG look out of the camera. But all of those paint menus are is thrown out the window on the FX6 because many of today's camera operators don't want to be bothered with menu settings. So, if you don't like S-Cinetone, that's too bad, because the camera doesn't really give you any other options for a WYSIWYG image. On my FX6 I now shoot S-LOG3 100% of the time for that very reason. If the footage is going to have to be graded anyway, then why not capture the the most flexible images in the first place? Also, it's interesting that this video gives no real exposure advice for shooting with S-Cinetone unless you're shooting a human face, and then you are told to make a judgement call as to whether the person is dark or light skinned. Look at those percentages on the chart -- that is a huge exposure range and open to all kinds of interpretation (aka, "guessing"). I completely disagree that exposure is as subjective as they make it sound. It's not supposed to be guessing game that there are better ways of setting exposure correctly.

First

If it does not have internal raw recording, it isnt a cine camera. This disqualifies everything but the venice, which only makes it just barely since it does not have 32-bit float audio recording.

i used Cine El mode - Slog 3 Sgamut.cine - s709 luts on sony fx9 and what luts should i use in editing to get color similar to s709 color ? answer me, thanks sir