![]() ![]() However, the nature of the S-Log2 curve brings two challenges you need to be aware of: I have not had any banding or posterization. The footage holds up well “under limits”. If you don’t want to take the trouble, then don’t buy the Sony A7s or don’t record in S-Log2. To truly understand S-Log2, you’ll need to read my notes from Part Five and understand the fundamental differences between: A complete visual representation of the filmmaking process from beginning to end. Let’s look at that next.Įxclusive Bonus: Download your FREE Blueprint: How to make a movie. The ‘complication’ in the editing workflow for the Sony Alpha A7s comes in the grading. Prores HQ is good enough for any kind of editing project, even cinema. Here, it might be a good idea to use another codec for acquisition, maybe XAVC (it supports 4K). If it’s a documentary with a larger shooting ratio, you’ll need tons of drives.If you’re shooting a 90 minute movie with a shooting ratio of 10:1, you’ll have 6 TB of footage.If you’re shooting a 5 minute project with a shooting ratio of 20:1, you’ll have 100 minutes of footage, or 660 GB.Therefore, real-time editing and playback demands RAID 0 (at least 3-4 drives) or an SSD via USB 3.0 or Thunderbolt. Even a fast 7,200 rpm drive will suffer when you add titles, grades, etc. Even a portable 2.5″ platter drive via USB 3.0 delivers 65 MB/s or about 10 streams of 50 Mbps XAVC in 1080p.Īs far as 4K is concerned, the story is different. You will never need more than one hard drive (no need for RAID 0) for real-time playback. No matter which NLE you choose, editing Sony A7s footage is a breeze. Avid Media Composer 7 via the Sony PDZK-MA2 plugin.Apple Final Cut Pro X 10.0.x via the Sony PDZK-LT2 plugin.Here’s a list of NLEs that support XAVC S, AVCHD and MP4: Even if I wanted to create dailies on the fly, I’d prefer H.264 in 1080p. The camera does allow dual recording, though I’m not sure why anyone would use that. Not only is editing easier with XAVC S, it also offers the highest data rate and most robust video file to push in post production. In this final part, we’ll study the post production options and challenges in dealing with both 1080p and 4K footage.Īs mentioned earlier, I would never use any codec other than XAVC. more.In Part Seven we looked at the cost of putting together a Sony Alpha A7s kit. ![]() Spice up your videos with pre-built animations that have a transparent background, just like how a PNG iamge works, but for video.Ĭompleitble in all professional editing software such as DaVinci Resolve, Premiere Pro, AVID, Filmora, Movavi, and much. Read more about what LUTs are and why LUTs are amazing for some people. This is why LUTs are ultra useful for specific types of people. They want to pump out videos that look decent, so they can work on other things that matter more to them. For example, Youtubers and Business owners don't have time to spend passionately learning how to color grade. This route is always the best route if you have passion and time as you will receive your favourite results, because it's from your mind.īut some users just don't have it in them. Some Filmmakers have a very artistic eye and love designing the color themselves. Also of course, LUTs aren't for everyone. Some colorists spend many years color grading different types of Log footage. ![]() Being able to place a look onto your footage and have it corrected to a pleasing look while getting more dynamic range out of your camera, is a huge time saver and upgrade! It's an art in itself and it's not something you can learn quickly. This caused a lot of people to get frustrated that they would need to color grade after shooting anything if they wanted the extra dynamic range, especially if they have a quick turn-around on an edit. So let's say, color grading isn't for everyone. One issue that came with this, is that everyone had to learn color grading when using Log. Giving the ability to have a higher dynamic range than standard color, without losing detail in the shadows and highlights. As Sony cameras became more popular, S-Log 2 & 3 introduced many Filmmakers to using Log color profile. S-Log color space was a big driver for many users to learn how to use LUTs. ![]() They gave the user everything they needed while capturing, like multiple XLR inputs for audio, high bitrate, low power consumption and much more. Many Sony cameras were becoming the favourite, such as the FS5 and FS7 for professional work. Just like when the A7S1 was released, it revolutionised the industry with it's low-light capabilities and small design. Sony cameras have been leading the way for many years in the Filmmaking scene. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |