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Color Correction and the Sony F5

Color Correction and the Sony F5

Recently, Digital Zoetrope Productions worked with filmmaker Daphne Stacey to produce an independent film entitled In A Moment. The film was shot exclusively with our Sony F5 Cinealta Digital Cinema camera and utilized that camera’s S-Log2 gamma curve setting. What the Sony F5’s S-Log2 gamma setting allows you to do, is to record a scene with a “flat” picture profile that keeps most of the original information from the camera’s sensor. Essentially, this profile is as close as the camera can record to a RAW setting without actually using the AXS-R5 RAW Recorder with the Sony F5.

Shooting in S-Log2’s flat profile allows us to color correct the final image immensely without sacrificing image quality. S-Log2 preserves the dynamic range of a shot, meaning that information from both the highlights and shadows are recorded for use by your editing/color correction system. In the case of In A Moment, color correction was done exclusively in Adobe Premiere Pro CC 2014 utilizing a combination of built-in color correction filters and Look Up Tables (LUT) from James Miller’s excellent Deluts collection.

Here is a sample of the difference in the S-Log2 footage and the color corrected footage: (Click to enlarge to their original 4K size)

In A Moment S-Log2 4K Still

Original S-Log2

 

 

 

 

 

 

 

 

In A Moment Color Corrected Still

Color corrected

 

 

 

 

 

 

 

 

The above sample was color corrected using Miller’s Liverpool LUT at 20% opacity and Adobe Premiere Pro’s RGB Curves and Fast Color Correction effects. This helped us achieve a dark, somber mood look to the footage.

In A Moment S-Log2 Still

Original S-Log2

 

 

 

 

 

 

 

 

In A Moment Color Corrected Still

Color Corrected

 

 

 

 

 

 

 

 

This sample utilized Miller’s Lichfield LUT at 100% opacity and Adobe Premiere Pro’s RGB Curves and Fast Color Correction effects.

In A Moment S-Log2 Still

Original S-Log2

 

 

 

 

 

 

 

 

In A Moment Color Corrected still

Color corrected

 

 

 

 

 

 

 

 

Lastly, this scene was color corrected using Miller’s Lichfield LUT at 100% opacity and RGB Curves and Fast Color Corrector. The saturation was also increased to about 120% since the mood of this scene is more hopeful than the previous two scenes.

Click on the below video to see the original S-Log2 footage and the Color Corrected footage in side by side comparisons.