If I provide post with S-Log3 files, however, I run into a problem: regardless of what ISO I’ve set on the camera, the log image is always recorded at the camera’s base ISO. I only shoot with those cameras in Cine-EI mode, typically with the LC709 Type A LUT engaged, and if I bake in a look then there’s no question that post will base their grade on what I’ve given them as they can only do minor tweaks. The F5 and FS7 I rate at ISO 1000 instead of 2000. I rate Sony’s F55 at ISO 640 instead of 1250. My rule of thumb is to divide the recommended base ISO by two, particularly when shooting visual effects projects, although there are better ways to determine a camera’s acceptable ISO. They’re always a bit optimistic for my taste.

There are compromises involved, and some of these revolve around the fact that these three cameras operate in huge color spaces. Later I discovered that this was not a free ride.

Finally I could use Sony cameras and not be repulsed by bright, saturated colors, orange flesh tones and abrupt roll-off in electronic-looking highlights. When Cine-EI mode became an option in the FS7/F5/F55 cameras I was pleasantly surprised, and when they released the LC709 Type A LUT I was ecstatic. I can’t stand the traditional “Sony look.” Hypergammas and Sony’s Custom-mode Rec 709 color matrices just don’t do it for me. Here’s how to work to its strengths and around its issues using two free software packages… Sony’s Cine-EI mode is both a blessing and a curse.

Sony s log luts