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4K Workflow Guide Version2.0
4K Workflow Guide Version2.0
RAW, SR File and XAVC production with the F65, F55 and F5
Version 2.0
HD and beyond
While all Sony CineAlta cameras provide HD recording, the
latest models also venture far beyond HD. They go beyond HD
in resolution, with 2K 4K and 8K image capture. They go beyond
HD in highlight handling with S-Log 2 and RAW recording. They
even go beyond HD in color palette, with the deep greens and
reds of the S-Gamut color system.
To take advantage of these new recording options, a full
spectrum of third-party vendors has developed workflow
solutions of extraordinary power and flexibility.
No matter what Sony CineAlta camera you choose for your
next project, youre always assured of four important
benefits:
Choice of traditional HD or beyond HD. Every Sony
CineAlta camera can shoot Rec. 709 HD, ready for efficient,
cost-effective postproduction. Or choose super quality
workflow beyond HD, based on S-Log 2 or RAW recording.
Compatibility with third-party tools. Sony CineAlta cameras
work with a world of third-party solutions. We recently
counted more than 30 vendors supporting our XAVC
recording system and over 30 supporting our SRFile system.
Because more and more third-party solutions are coming on
board, we expect to continue to update this guide.
Simplicity. Producers are discovering that the new
workflows are easy. For example, Sony SRFile, XAVC and
RAW files can all play back on a PC using free Sony
software.
Speed. Sony has developed fresh compression codecs,
original recording media and high-speed card readers to
make your workflows smooth and efficient.
Theres an amazing world of production possibilities out there.
And nobody brings it to you like Sony.
Blackmagicdesign
DaVinci Resolve V10
HDLink Pro
FilmLight
Truelight
FLIP
Fujifilm CC Box
Pandora Pluto
Pomfort Livegrade
Blackmagicdesign DaVinci
Resolve
Codex Vault
Colorfront
OSD
ExD
FilmLight Baselight
Transfer
MTI Film
Control Dailies
Cortex
Yo Yotta YoYo
Adobe Premiere
Avid
Media Composer
Symphony
Avid
Media Composer
Symphony
Adobe Premiere
Avid
Media Composer
Symphony
RAW and 4K On-line editing with AVID Media Composer & ADOBE
Premiere
The newly released plug-ins for AVID MC 6.5 & Symphony 6.5 (PLAV-RW1
V1.2) and ADOBE Premiere CS6 (PLAD-RW1 V1.2) enable full
demosaic/debayer processing of F65/F55/F5/FS700 RAW files.
Both these plug-ins also allow source selection setting for gamma
and gamut. The selection available is S-Log2/S-Gamut or
Rec709/Rec709 when working with RAW files. It is recommended to
set source setting to S-Log2/S-Gamut to maintain maximum highest
quality image processing.
AVID MC7 The latest release of Media Composer will support 4K/HD
XAVC and F65/F55/F5/FS700 RAW files via AMA plug-in support. A
major feature of MC7 is the added support for 3D LUTs. The newly
announced SONY LOOK PROFILES will be available to users that wish
to finish their HD project using MC7.
Color Grade
The color grading process is typically the final step in a project. This
is where color corrections are applied. All the major grading
applications support CineAlta camera files. To maintain the highest
quality, we strongly recommend relinking back to the camera master
files for the grade.
Grading plays a particularly crucial role in Sony RAW and S-Log 2
productions. In the early days of digital cinematography, dynamic
range was relatively limited. Productions needed to take extra care to
avoid clipping the highlights or crushing the blacks. To achieve the
desired look, it was common to paint the camera, using Knee, Slope,
Multi-Matrix and other camera controls. For these productions, the
grading step was often considered optional.
Times have changed. Today, Sony CineAlta cameras achieve over 14
stops of dynamic rangea dramatic improvement. This upgraded camera
performance has been matched by upgraded recording technologies,
both S-Log 2 encoding and RAW recording, to capture the full range
of camera output without clipping highlights or crushing blacks.
For these reasons, theres no need to paint the camera on S-Log 2
shootsand the paint controls are completely disabled on Sony RAW
shoots. Everything the image sensor detected can now be captured,
recorded and delivered to the grading session. This enables both
better picture quality and more powerful color correction to
produce amazing final results.
Assimilate Scratch
Blackmagicdesign DaVinci
Resolve
FilmLight Baselight
Assimilate Scratch
Autodesk Flame
Blackmagicdesign DaVinci
Resolve
DVS Clipster
33 FilmLight Baselight
Quantel Pablo
Assimilate Scratch
Autodesk Flame
Blackmagicdesign DaVinci
Resolve
DVS Clipster
FilmLight Baselight
Quantel Pablo
The input reference for all the Look Profiles is based on S-Log2 (tone
curve) and S-Gamut (color space). RAW footage should be set S-Log2
and S-Gamut as the RAW output setting when importing into the grading
application. SR File, XAVC and MPEG2 should be recorded with S-Log2
and S-Gamut setting. These Look Profiles can be used for either Input
LUT or Output LUT during grading except Cine+709 LUT. This LUT
should be applied as an output LUT.
Also, the F65 V3.0 (Release end of June/2013) and RAW Viewer V1.1
will implement Look Profiles. The F65 will be able to record metadata
referencing the Look Profile number which is saved with the RAW
files. Plus you can select the same Look Profile with RAW Viewer V1.1.
1. LC-709
Output tone curve is a low contrast video tone. Highlight is lightly
compressed and it is easy to expand during grading. Shadow detail is
also lightly compressed. Color reproduction produces better skin
tone. Total color is less saturated than typical Rec709 to provide
more room for color grading.
2. LC-709TypeA
This Look Profile is a different version of LC-709. This profile is
designed to simulate the conventional digital camera, such as Sony
HDW-F900 and Alexa. Skin tone is slightly different compared to LC-
709. Mid tone contrast is the same as LC-709. Black has small offset
to maintain compatibility with conventional cameras. Total color is
less saturated than Rec709 to provide more room for color grading.
3. SLog2-709
Total color is less saturated than Rec709 to provide more room for
color grading. Tone curve maintains original S-Log2. This Look Profile
is suitable for people who have good experience with processing S-
Log2 directly.
4. Cine+709
This profile emulates film color. Negative-film and Positive-film are
combined into one and applied as tone curve for TV production. This
Look Profile is designed for monitoring use. If you want to grade
based on this Look Profile, you should be set this Profile as output
LUT in the grading system. This means grading parameter should be
applied S-Log2/S-Gamut, and then Profile is applied after the grading.
*:High Effect Skin Tone Color Color High light Low light
Contrast Saturation Reproduction compression compression
Tone: S-Log2
* (Log) * S-Gamut *(Log) Not applied
Color: S-Gamut
1. LC-709 ** ** L709 (1) ** *
2. LC-709TypeA 3. SLog2-709