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1. GH5 LUT FOR ISO 12800 HOW TO
2. GH5 LUT FOR ISO 12800 1080P
3. GH5 LUT FOR ISO 12800 UPDATE
4. GH5 LUT FOR ISO 12800 UPGRADE
5. GH5 LUT FOR ISO 12800 FULL

In full frame recording mode at 24p rolling shutter is of course more severe than on the more expensive professional Super 35mm cinema cameras. It is easy to over-blow the problem though because in practical every day shooting rolling shutter is sometimes a problem, sometimes not. Less rolling shutter skew is a button press away

GH5 LUT FOR ISO 12800 1080P

Resolution in 1080p is extremely good internally, yet 4K to the Shogun in September is an absolutely mouthwatering prospect. Like the GH4 the A7S has a full pixel readout which means much crisper detail and less banding in skies and areas of plain colour. The 5D Mark III in raw files cannot achieve the same dynamic range as S-LOG on the A7S while still maintaining low noise in shadow areas lifted in post. What grain there is left helps to dither the 8bit bands together more smoothly. Yes there is some more ugly noise in the very deepest darkest areas of the S-LOG image but this should not appear in your final image unless you’ve made a mistake either with exposure or with your grade.

The image once graded is silky smooth at the native ISO of 3200.

GH5 LUT FOR ISO 12800 UPGRADE

SLOG 2 which was a $3800 upgrade just a few years ago on the Sony CineAlta F3 really does work on this camera to deliver enormous dynamic range without the usual artefacts and banding we’ve seen with flat picture profiles before on DSLRs. It only has one flaw and that is on fast unpredictable motion blur you get a lot of macro-blocking, so a recorder like the tiny Atomos Ninja Star will be useful there. It is incredibly efficient and grades on par with ProRes recorded via HDMI. The encoder in the A7S is far better and actually I’d rank it higher than Sony’s pro camera the FS700. Having seen mediocre performance from XAVC-S on the AX100 and RX100 III, my expectations were that this would be the Achilles heel of the A7S but it is actually one of the camera’s greatest strengths. In the A7S one of the world’s best full frame sensors is finally backed up by a professional standard video processor and codec. Dynamic range is 14 stops in raw stills – close to it in S-LOG. ISO 3200 looks like ISO 200 on the 5D Mark III. ISO 12,800 on this camera looks like ISO 800 on the GH4. Sony are alone in having the guts to do a 12MP consumer camera in 2014 albeit one with pro leanings. The end result is brave, compelling and unique. Secondly the yields from a silicon wafer with such a larger sensor are far lower than for APS-C.Īdditionally the yield of megapixels per dollar is much lower compared to the A7 or A7R so the A7S has to be sold to a more educated consumer willing to look beyond the ‘headline number’. Firstly that 12MP count is a big marketing risk. The higher price of the A7S is justified on so many levels. After covering the mainstream bases with the A7 (low price) and A7R (high megapixels for the price) Sony now targets that smaller niche of people who actually just want a good image – and know what one is. Here with the A7S it is the quality of the pixel not the quantity, that matters. L-Curve!Ībove: from left to right – 5D Mark III with Canon 50mm F1.2L, Fuji X-T1 and Sony A7S with Voigtlander 35mm F1.2 Asphericalĭigital cameras have usually been sold on the basis of megapixels per dollar.

GH5 LUT FOR ISO 12800 HOW TO

You have to learn how to use LUTs, how to export them from Resolve to Premiere, how to manipulate the luma curve, the RGB curves, the lot. With S-LOG you have to grade, you have no choice. Even raw on Blackmagic cameras is more friendly than S-LOG because you can just open the raw files on default settings. The consumer Sony picture profiles for JPEGs just do not give you the same workflow or image quality, so you are compelled to learn to grade or at least apply the LUTs and looks created by others (such as my own here). The more general consumer that will buy this camera simply will not be able to get the best out of the image. Sony have put professional video features on the A7S and S-LOG 2 is one of them. Then unfortunately it is time to learn how! S-LOG 2 requires serious grading knowledge to get the best out of. There’s another caveat that isn’t really the fault of the camera at all. The Atomos Shogun will have support for LUTs so that is yet another reason to get the 4K recorder when it is released this coming September.

It is really tricky to get your exposure right when shooting S-LOG 2 on the camera display.

GH5 LUT FOR ISO 12800 UPDATE

However there’s one thing missing from the A7S that I’d really love to see in a firmware update – the ability to load your own LUT for S-LOG 2 onto the SD card. Here’s one I’ve come to already – the Sony A7S is the best consumer camera Sony have ever made.įor $2500 the video performance of the A7S sits between the FS700 ($8000) and F5 ($17,000) yet the full frame sensor lends more character and allows for groundbreaking low light performance. I’ve had the A7S for over a week now and can share my initial thoughts, even some firm conclusions.