- Hey guys,my name is Matt
Johnson with whoismatt.com. And if you're filming videos
with the Sony A7S3, FX3, A1 or any of the other
more recent Sony cameras that shoot 10 bit video. My favorite picture profile
for these cameras is S-Log3. Literally set your camera to
PP8 change no other settings and you are good to film. But if you're filming with a
Sony A7S3 or FX3, et cetera and you're also using an
older Sony camera as well such as an A73, a6,600, a6,500 or basically any other older
Sony camera that came out before the year 2020. In that case I'm gonna recommend you set your picture profile to PP8, but change the gamma to cine4 There's your settings. I hate whenever people make me
watch a video for 10 minutes before they finally tell me
the settings that I need. But that said, if you want to know why I'm recommending two
picture profiles instead of just one and how to properly expose and film with these two picture profiles you're gonna have to keep watching. Let's not talk about the
first picture profile that I recommend for
Sony's newer cameras now, PP8 S-Log3, make sure you choose PP8 which will show the gamut as S-Log3 and the color mode as S-Gamut3.Cine Don't choose PP9, which
says S-Log3, S Gamut3 as that will be more
difficult to color grade. The reason I prefer filming in PP8 S-Log3 is because this picture profile is going to maximize the dynamic range
of these newer Sony cameras and give you the best possible
footage that you can get. The only con of this picture profile is that it is a log picture profile, meaning that you gonna have to color grade it and add contrast and saturation if you want it to look its best. To save you time though and to make this picture
profile super easy to film with, I've actually created a set of video presets called
whoisMattLuts that I've created and tested specifically
to work with S-Log3. A link to those luts down
in the video description. I also want you to know
that I'm working on an easy color grading tutorial
specifically for S-Log3 So please subscribe if
you wanna see that soon. Now let's talk about how
to properly expose S-Log3. With a normal picture profile,
you traditionally want to get your exposure as close as possible to 0.0 on your camera's metering. This way, your footage won't
be too bright or too dark. But keep in mind S-Log3 isn't
a traditional picture profile. It is a log profile specifically created by Sony to maximize the dynamic range of the image that you're recording. Because of that, instead
of targeting an exposure of 0.0 on your camera's metering, you should instead be trying to expose between 1.7 and two stops over. I realized this may sound really bright. And on the back of your camera screen the image is definitely
going to look bright. But the benefit is that when
you color grade your image and add contrast, the
color grade will bring down that brightness and
it will look awesome. Now there's a lot more I can explain about S-Log3 and how to
properly film with it to get the best possible
image from your camera. But I feel like that should be its own separate video to keep this from being too all over the place. If you want to see more about how to film with that S-Log3 though, leave me a comment and I'll work on that video and link to it
down below when it's finished. Moving on, let's talk about
the second picture profile that I recommended at
the start of this video. As I said, if you are filming with a mix of newer Sony cameras, like the A7S3, FX3, A1 et cetera as well as older Sony
cameras, like the A73 a6,600, a6,400, et cetera, I'm going to recommend that
you set all your cameras PP8 but change the gamma to Cine4. Leave everything else the
same just change that. Why am I recommending
that you do this though? Why can't you set all of your cameras? Even the old ones to PP8
S-Log3 and Call it a day. Well, the reason has to do with color. See previous Sony cameras like the A73, recorded
video in eight bit color. This means they could record up to 16.7 million different colors. That sounds pretty good 16
million is a lot of colors. Well, hold on for a second because one of the headlining features
of Sony's newer cameras that highly differentiates
them from earlier models is that these new cameras
can record in 10 bit color. Instead of 16.7 million colors on the A73, The A7S3 is now capable of
recording over a billion colors. 1.07 billion to be precise. That's a huge difference. And it solves a big problem
that earlier Sony cameras faced. Come back in time with me now. Here it is my Sony A7S2 that
was released in late 2015. This camera was one of the
first mirrorless cameras that Sony released that included S-Log3, which as I already mentioned in this video is going to maximize the
dynamic range and quality of footage that you can
get from your camera. But here's the twist. I never recommended using
S-Log3 when recording video with the A7S2 or the A73,
a6,500, a6,600, et cetera. Basically any camera that Sony
released before year 2020. Why? Because all of these cameras only recorded video in eight bit color. And when you set a camera like the A7S2 to record an S-Log3 with it's very flat image, there simply isn't enough
colors to be able to color grade the footage properly. Once you add contrast and saturation, you'll start to see weird lines of color banding and blue skies. And even in the skin
tones of your footage. This made S-Log3, basically unusable on the A7S2 and any other Sony camera that only recorded in eight bit. To work around it I released a video in 2016 called, "My
favorite picture profile" for the Sony A7S2, A73 et cetera. And this video covered a picture profile that I called Matt flat
that would allow you to film with a similar dynamic range
to S-Log3 but without any of that gross color banding,
that made it unusable. So can you guess what Matt flat was, PP8 with a gamma set to Cine4. That sounds familiar. Here I am years after making that video and I'm recommending this
same picture profile again. But now you hopefully understand
that if you're using a mix of newer Sony cameras
they record 10 bit video. And older Sony cameras
they record eight bit. You can set all of them to
this Matt flat picture profile, and they will all match up
with similar dynamic range and quality and no banding
or other color issues. Also because I'm betting
you're probably wondering, do you need to set your newer
Sony cameras like the A7S3 to eight bit when recording
this Matt flat picture profile? No, you can keep them at
10 bit color information will only help you in color grading and help you match up these cameras. Now let's talk about how to
properly expose Matt flat. The main thing I will keep in mind is that this is still a log picture profile. Mainly you don't want your
camera's metering to read 0.0. You are going to want it to be brighter. In this case, I would recommend
exposing your image anywhere from 0.3 to 0.7 stops over
on the camera's metering. You don't have to go as
bright as full S-Log3 with its 1.7 to two stops over but you still want the image to be a bit brighter than normal. This will help you a
ton when color grading. Speaking of helping you a ton, my luts are also tuned to work with the Matt flat picture profile. So they should help you save
some time there as well. Lastly, let's wrap this up by talking about one more picture profile. When Sony announced their FX9
cinema camera a few years ago It included a fantastic picture
profile called S-Cinetone. This picture profile gave
the camera a gorgeous image that looked incredible
straight out of camera. Meaning that if you filmed with it, you wouldn't need to
color grade your footage. The only down side is that it
came with less dynamic range but the benefit and speed
of filming something that looked good straight out of camera was very appealing
to many filmmakers. Fast forward to 2020 and Sony has now included
S-Cinetone in all their newest cameras
including the A7S3 via their 2.0 firmware update. Now, the reason I'm talking
to you about all this it's because I've
received numerous comments from filmmakers asking what
I think about S-Cinetone. And if that is my new
favorite picture profile. In short as S-Cinetone is not my favorite because well I do love the colors and skin tones that you can get from it the dynamic range is not nearly as good as you can get from S-Log3 And if you film running gun style like me, when you don't have full
control over your lighting and you need the flexibility that you can get from a log image I greatly prefer S-Log3 over S-Cinetone. That said though, if
you want me to go more in depth with S-Cinetone in a future video just like I'm gonna do with S-Log3, leave me a comment below,
and I will work on it. With that, those are my two
favorite picture profiles for Sony cameras. If you're filming with a mix of old and new cameras,
you have Matt flat. And if you're filming
with newer Sony cameras I guess I'll call it Matt flat 2.0 even though it's just PP8 S-Log3 you don't have to call it that but I will probably put that in the title in case you need to find this video again. Very last thing now. If you're using the Sony
A7S3, FX3, A1, et cetera and you want access to all of
my settings for these cameras I've created tutorials walking
through how to set them up. And as a bonus, if you use the A7S3, you can download my settings file which you can load into your camera and instantly have every
setting tuned for filmmaking. You can download those settings for free at the link down below. With that thank you so much for watching. Please check out my, whoisMattluts
and have a great day.
