Finest Video Settings on the Sony a7S III

Organising your digital camera(s) is likely one of the most necessary elements of being ready and in a position to shoot rapidly and successfully. Sony cameras particularly since I believe it’s honest to say their menu system may use some extra work. There are additionally simply so many settings to dig into once you begin to navigate issues like Image Profiles and even simply customized button features.

Filmmaker Matti Haapoja has lengthy been a Sony shooter and he’s right here to share his ideas and tips for getting the perfect video settings. This could work with any comparatively latest launch, together with the a7S III, a7 IV, and FX3.

Among the many greatest and most ignored settings on Sony cameras are the customized settings being saved to the mode dial. You’ll be able to in a short time change between completely different modes for various functions simply by rotating the dial. Matti’s examples are having Customized Mode 1 arrange for vlogging, 2 set for sluggish movement at 120p, and three set for max sluggish movement at 240p. These modes save the whole lot, together with white steadiness, shutter velocity, image profile, and extra. I’m certain you have already got concepts in your personal settings.

Now simply ensure you have all of your fundamentals coated:

  • Set digital camera to base ISO (640 and 12,800 for a7S III & FX3)
  • Shoot broad open (or as near it as potential)
  • Shutter velocity double body fee (24 fps = 1/50 second)
  • White steadiness both daylight or auto relying on most typical capturing conditions

Picture Credit score: Sony

Codecs get somewhat extra advanced on newer cameras. XAVC S is your extra normal compression with Lengthy GOP and H.264. Simple to make use of and pretty compressed. There’s additionally now XAVC S-I, which is intra-frame and nonetheless H.264 which means a lot increased high quality and nonetheless simple to edit however a lot bigger information.

Lastly, there may be XAVC HS, a brand new high-efficiency codec utilizing H.265 compression. Prime quality with smaller information. The one concern is that it is best to have is that you simply want a more moderen pc that has H.265/HEVC {hardware} decoding or it’ll kill your pc.

For high quality it is best to double examine the recording modes to make sure you have a good bit fee and undoubtedly need to ensure you are at 10-bit 4:2:2. That would be the largest factor to ensure high quality.

Matti additionally reveals off a few of his personal LUTs in case you are . There are many LUTs on the market to assist convert S-Log3 to one thing that appears nice with out a lot work in any respect.

As for coloration, you’ll want to take into consideration what Image Profile you’re planning on utilizing. It’s pretty nicely established that for optimum high quality and dynamic vary it is best to follow S-Log3 in case you are recording in 10-bit.

The flat profile is designed to squeeze essentially the most quantity of dynamic vary and coloration data into the compressed codecs permitting you to recuperate additional particulars within the shadows or highlights {that a} baked-in look can’t provide you with. You simply need to account for post-production coloration grading as a part of your workflow.

Picture Credit score: Sony

There’s the alternate S-Log2 mode which Matti describes as a extra conservative model of S-Log3. However nonetheless, greatest is to make some modifications to the S-Log3 profile.

Beginning with the default S-Log3 profile in PP8 it is best to head to the Colour Mode spec. Change it to S-Cinetone. Now, S-Cinetone is an efficient profile if you need one thing fast and able to go and it has tweaked colours that make it an incredible coloration mode. Finest observe remains to be to make use of S-Log3 for those who can.

Different changes embrace taking the Saturation all the way in which as much as +15. This supposedly helps with coloration grading as the additional data is less complicated to work with versus the conventional low saturation log gamma. It simple to take away saturation if it’s essential to anyway.

One other factor to take a look at is element. By bringing it from -7 as much as -1 you’re capturing sufficient element that you simply don’t all the time have so as to add it in publish which is usually a very heavy edit.

There are some good tweaks right here I would simply begin utilizing some myself.

Any explicit tweaks you prefer to make to your settings?

[source: Matti Haapoja]

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