Cinetone settings for the Sony A7S III

[@JackIsaacVideo]

Wow, this gets the A7s III pretty damn close! Just did a few quick skin tone tests and this is the real deal. Show the channel some love guys, I can tell a lot of work went into this!

[@extrashot]

That's good to hear... glad it's working for you and thanks for the kind comment.

[@philipbloom]

Thanks Paul. Super useful. I shall share!! P.S. Wanna buy my FX9? I think you need two. One as background prop and one to film you!

[@extrashot]

Brilliant, thanks Philip. Thanks also for the offer on the 2nd FX9... I'm just trying to work out what an old FX9 is now worth. What shall we say... £900 ?

[@philipbloom]

@@extrashot I think you are a zero short there!

[@AgentBlackCrow]

I'd love to see you two do a colaboration video.

[@AljosaMilenkovic]

So, Philip Bloom's selling his FX9. That's pretty encouraging for us poor bastards that have just bought one...

[@extrashot]

@@AljosaMilenkovic 😂... I recon you've still got the best camera around and I'm definitely keeping mine! Just ask Philip to get that long lens S35 shot in 4K !!!

[@csgreenwooddp9083]

Truly a gentleman and scholar, where do I send squid for a pint mate? You've opened the genie bottle here... I literally punched in the settings and just threw the 7Siii into the deep end of the pool on a paid gig with no testing, the minute I turned on the monitors I knew it was gold... I'm a truly grateful for your contribution to the community, frigging brilliant mate! The image is lovely.... in the edit sutie now. Bravo!

[@extrashot]

Wow... straight out on a paid job... that's very brave! Your confidence is appreciated and I'm pleased it's working well for you. Thanks for letting me know.

[@DADA-wn2oj]

Lovely work - very under-appreciated channel..

[@extrashot]

Thank you... I have to agree ! 😂

[@patrickvaihinger3578]

I tested it directly with custom white balance With grey card. The skin tones are perfect.

[@extrashot]

Great to hear... thank you.

[@EugeneMaynard]

Loved the red stick splitter gag Paul! 😂 Having lived in Sweden for 30+ years, I am overly sensitive to good old British humour!🙏🏾

[@extrashot]

Glad someone got it 😂... thanks for the comment Eugene, have a great Christmas.

[@EugeneMaynard]

....and the same to you Paul! 🙏🏾

[@nashhall694]

I only got my A7s3 a week ago & just tried these settings, after shooting a custom white balance I’m amazed at how accurate the tones & colours are straight out of camera! Great job. Saved me a sh#t load of time in Resolve.Thankyou🥰🙏😀👍

[@extrashot]

Brilliant, glad it's working well for you and thanks for letting us know! 👍

[@AdventuresinBackpacking]

On the Sony a7r IV, I came really close to your a73 S-Cinetone settings by using Deep Creative Style: Saturation -1, Contrast -3, and Sharpness -5. Like you stated, extrashot, nailing white balance is key. I did the same with my wife’s a73. We go back and forth and can hardly tell the difference. The key to matching our cameras though is to set a custom white balance though, to even out camera differences and lens differences. Thanks for the great work and settings!

[@extrashot]

That's good to know... when I get to borrow an A7R IV, I'll try those... thank you.

[@MrVh78]

This post has blown up on all A7s3 forums, you'll need a follow up video answering queries ;)

[@extrashot]

Always happy to get queries and suggestions!

[@DDHDTV]

this is still very helpful for A7C users, as those didn't get the s-cinetone upgrade back then!

[@TwoOneSe7en]

On the cusp of Sony ACTUALLY giving us S-Cinetone on our beloved a7SIII’s, I just NOW find this video!!?? You sir, are a legend. Thank you for your hard work at this! I will rock this until I’m able to get the real S-Cinetone firmware update. Sub’d.

[@extrashot]

Thank you Two One Se7en... very kind, and your sort of feedback makes it all worthwhile - cheers!

[@extrashot]

@@guerrerosdigitales Version 2 of the firmware very soon....

[@MrVh78]

@@extrashot 25th Feb. Less than 24 hours now...

[@extrashot]

@@MrVh78 Happy days!

[@markfischerFPV]

Thank you for doing this and sharing so kindly. I will try this out very soon. I've had my A7siii for about 3 weeks, and been trying out different looks / profiles - but have mostly shot S Log 3 Cine thus far. (it's interesting to compare the same scene from that camera to my FS7 - and sort of "telling" what I think Sony did to their color - I assume starting with the Fs5ii). So - cheers for diving into this. The results look great in the video. Totally agree with you on WB with the A7siii - and I also immediately wondered why all my other "cinema' cameras couldn't WB so easily and effeciently.

[@extrashot]

Thanks Mark, I hope it works well for you. The A7S3 is spot on with getting an accurate white and the FX9 is a total nightmare. I'm amazed two newish cameras from the same manufacturer could be so different! Sony were definitely late to the "filmic' colour science that RED, Canon, Panasonic and Blackmagic have been nailing for years... but at least they're getting it now!

[@animaxxx4429]

The day has arrived my old man. ❤️

[@extrashot]

Old Man... how dare you !!!??? (but seriously, you're right, it should be out tomorrow - happy days) 😂

[@animaxxx4429]

@@extrashot hehe 😂

[@christianpokrywka9054]

Between this, S-Log3, and the Leeming LUT HLG settings, I think I'm digging this the most! Thanks again for your hard work and research!

[@extrashot]

Oh that's great to hear. I'm pleased it's working well for you and thank you for the comment. Much appreciated!

[@tomdchi12]

Those greenish skin tones (and greenish everything else at times) are what has turned me off from Sony across the line for years. But colors I'm seeing from the A7SIII and FX6 have been much, much more appealing. I'm not really the market that Sony is going for with the FX9 but I'd still second the call for them to tweak the FX9 to be more like the FX6 and A7SIII color-wise. That said, as a Sony-semi-skeptic, what you're showing from the FX9 and A7SIII looks great, and they're an excellent match.

[@extrashot]

Thanks Thomas, I do agree that standard Sony colours have been a bit 'off' for years. It's like they got stuck with the 1980's REC709 from TV studio cameras. But to be fair, things started to change with the Venice and now we're seeing the effects of that 'look' filter down throughout the range. Now the A7S3/FX6 colours are right up there with the best from anyone. With everyone shooting Log or Raw it shouldn't matter so much, but colours out of the box really do help sell cameras. I'm just surprised it's taken them this long!

[@Tommygardh]

Your settings makes the A7Sii look soooo close to that beautiful Cinetone-S! Thank you so much! Very appreciated!

[@extrashot]

You're welcome... hope it works well for you.

[@loudandclearmedia]

You have answered one of my biggest questions about A7Siii. Although I've heard several people say the A7Siii would be a perfect B cam to the FX6/9, my initial thought has always been "yeah, but I want to use the Venice colors." Seriously, well done!

[@extrashot]

Thank you Loud&Clear... mine is supposed to be a perfect B cam, but I'm trying to justify why it shouldn't be an A cam on most jobs !!!

[@loudandclearmedia]

@@extrashot Oh, that's an easy one...you don't want to be the dickhead showing up to a commercial video shoot with a "DSLR." Sad, but true...the bigger your rig is, the more credible you look. It's actually the ONLY reason I still hump around my RED Dragon-X to some jobs.

[@extrashot]

@@loudandclearmedia Sad, but very true!

[@steveshields9071]

@@loudandclearmedia Perfectly said. I can't tell you how many jobs I've done that on! I actually did a test once just to see if the client would notice the difference between a "big" camera and the mirrorless and they actually chose the mirrorless!! Of course I didn't tell them! HA! "Reality is irrelevant, perception is everything"

[@MrVh78]

CONGRATS!! your trick worked! Sony is updating the A7S3 with S-cinetone on a firmware update anytime now!!! Thanks

[@extrashot]

Really !!! I haven't seen that... do you have a link?

[@osaspro]

Yeah... I just update but can't find the S cinetone in there...What is it called.?

[@bulentbab]

@@extrashot not yet

[@extrashot]

@@osaspro It will be PP11 on firmware v2.0

[@extrashot]

@@guerrerosdigitales I'm told It'll be out tomorrow (25th Feb)... part of firmware version 2. It's called ILCE7SM3v200

[@grafpez]

Thanks so much for your dedicated hard work and sharing! Sony please listen. Quicktip: some cameras balance better if you deliberately defocus the image to have an even soft sample.

[@scottgmaclean]

“Inundated with three or four requests...” 😂 - your channel is great! Keep up the great content. I hope you get a chance to play with a Canon c70 and give your thoughts... I just took delivery of mine and look forward to your sage insights. Also, Merry Christmas.

[@extrashot]

Thanks Scott... I'd love to play with the C70. I've heard good things so I need to borrow one asap. At least you get to play with it over Christmas... enjoy, and have a good one! 👍

[@scottgmaclean]

@@extrashot Thanks Paul... the colours you have been able to get out of the FX9 and A7SIII (as demonstrated in this video) gave me pause, but the C70 looks the most user-friendly for someone making the jump from a GH5. Plus I do like the organic look some seem to have achieved with the DGO sensor and C-log combo. Can't wait to dive in.

[@extrashot]

@@scottgmaclean That sensor is a peach... especially for dynamic range!

[@derkoekje]

Unlike the A7III which really struggled with these settings, this looks absolutely spot-on. The skin tones are a fantastic match and look brilliant. I can tell you spent a long tweaking it, my hat is off to you. Do you think it's the 10 bit 4:2:2 that is making this difference possible?

[@extrashot]

Thank you... it's really good to hear the skin tones are working well for you. I suspect you may be right about the 10bit 4:2:2... it definitely makes a visible difference to what we can do with the colours.

[@MikeEbrahimi]

This is the best cine video settings I’ve seen for A7siii. Thank you.

[@extrashot]

Thats great to hear... thank you so much for the comment. Have a great holiday!

[@raalaa121]

Just set my A7R IV up with these settings and I have the actual S Cinetone profile on my A7S III with the firmware update

[@Hiro_HIRO_166]

0:00 Intro 3:52 Sample 5:18 Setting

[@poman911]

I have the a7III and the a7S3 and spent 2 days trying to match them in HLG. White balance is critical for matching. In any case I'm going to use your settings as it seems more forgiving. For bright sunlight or low light work, I tend to use SLOG3 as they grade really nicely.

[@extrashot]

You'll always get more dynamic range from Slog3... and possibly a better Cinetone with a good LUT. The whole S-Cinetone thing is designed for those times when you need usable pictures straight out of the camera. I have a few clients that don't want to be bothered with grading etc... so I need it for them. Hope the settings work well for you.

[@The22Century]

Amazing work! Came here from Harv's channel. I really like the result definitely going to use it.

[@extrashot]

Thanks Bello... I didn't realise he'd done something about it... that's kind, cheers.

[@AllCarsUnited]

Took canon and nikon jumping on the mirrorless train to get sony to finally address some of their color issues. It's kind of frustrating if you think about it. Sony apparently didn't really care about what people thought until they started seeing competition. It's been the Sony's cripple hammer. It's amazing how different my A7s3 looks next to my a7r3, especially considering the r is only a few years old.

[@extrashot]

True... I'm convinced it was their history in matching old TV cameras that made them so late to appreciate the new 'filmic' type looks that everyone else was getting into. Virtually everyone else has had lovely looking colour science for quite some time now.... RED, Canon, Panasonic, Blackmagic, have all nailed it before Sony realised the importance of making something usable straight out of the camera. At least they've caught up now !!!

[@Brucelabvideos]

Outstanding! Thank you for the clear tutorial and your diligence in creating these setting adjustments and your willingness to share so freely. Nicely done.

[@bentheremedia3011]

Thank you so much for this!! My only question now is do you have any tips for nailing exposure with these settings? I've been using Paul Leeming's LUTs with SLog3 and the ETTR (expose to the right) method with my zebras set at Lower Limit 94+ which he has listed in his manual. I know in some video environments, people will set their zebras at around 70 and then expose until they get zebras on the subjects skin. Do you have any tricks like that for nailing exposure with these settings? Thanks so much! Subbed!

[@extrashot]

Hi Ben, I used to ETTR with my A73 and even the old F5 simply because you needed to overexpose a little so you could lower the pictures in post and therefore lower the noise in the shadows. I'm not convinced you need to do it with the latest Sony sensors because they are so clean, even in the shadows. As long as you don't go mad with the higher ISO's... The original Sony cameras wouldn't allow any noise reduction when using Slog, but now the A7S3 won't let you turn noise reduction off !!! I've been setting my zebras to 70% and just getting a tickle of zebras on the hot spots... which for me is trying to nail the exposure in camera! Best thing is do a few tests and see what you prefer... just keep an eye out for noise in the shadow areas.

[@bentheremedia3011]

@@extrashot This is great stuff, thank you so much!!

[@extrashot]

@@bentheremedia3011 Thank you... you've given me an idea for another video at some point!

[@keifer39]

I probably will never know how close these settings are to the look of the FX9 or FX6 but I tried these setting with my A7c and they look fantastic! Thank you!

[@extrashot]

That's good to know... thank you!

[@maguyvermedia]

You nailed it with this one, I'm using a Sigma 24-70 on a6600 and have found Cine4 with Pro color the most accurate colortones out of camera with pleasing skintones I have a library with colorful books, a game room full of memorabilia, a craft room full of color marking pens and a hotwheels collection in the same room as the library of books, using a custom 5100 whitebalance and shifting to G & A this combo nails it with minimal adjustment, when you have all the color references I have it's easy to dial in the door ask the 6 primary colors and then check aquatones, golds, oranges and yellows thanks again for your content this along with Phil Blooms FX9 review and autofucus testing made a quantum leap in image quality for my S35 shooter, even after watching Gerald Undones Sony picture profiles vid several times, this is the one...p.s. the color depth settings need to be at +7 when adjusted +7being darkest to lightest, it's easy to see this when comparing viewfinder to real life to get the colors accurate, keep up the good work @MaguyverMedia

[@extrashot]

Thanks Tony, it's very kind of you to comment and great to hear you're enjoying the quality. I'm also a big fan of Gerald Undone's attention to detail. When you need to know what's going on, he's the man! Take care.

[@NJBROTHA2K]

I just love this man. No matter videos that popup on my timeline I have to watch.

[@DaisysWorld192]

Great video sir! Will I have to do a custom WB with these settings? Also does it matter what PP I use? Thanks and subscribed!

[@extrashot]

A custom white balance is essential if you are matching Cinetone with another camera, but not so vital if you're just after a good looking solo picture. You can use any PP as they are all the same. They're just memory positions for custom profiles... if you muck one up, there's a reset function at the bottom of each menu which puts it back into the default profile. I believe the official S-Cinetone from Sony will be in a new PP11 position! Thanks for the kind comment, it's appreciated.

[@dogsterooni]

just amazing I really appreciate your efforts

[@extrashot]

Thanks Doug, very kind!

[@colorsigma101]

Well done, next episode alexa look on A7S III ! :p

[@extrashot]

😂Good idea.... actually, I'm starting to like the Venice s709 look almost as much!

[@adamblaster]

Shoot SLog 3 and use the fantastic Phantom LUTs to get close to the Alexa look

[@ChrisMitchells_FlyingCameras]

I'm so happy that I found this video and your channel! I plugged in your numbers into PP10 in my 7siii. I don't even know enough about these setting to call myself an amateur yet but I'm getting there and I love my brand new 7siii!! Thank you for this! SUBSCRIBED.

[@extrashot]

Thank you for your comment... it's great to hear and well appreciated!

[@KeithSklower]

I'm wondering if would be possible to derive a LUT, or list settings for one of the NLE's (Final Cut, Premier, Davinci, or Nitrate - but not all of them, of course) that would turn SLog3/S-cinetone3 into S-Cinetone? I understand this is contrary to the convenience of looking good right out of the box ....

[@extrashot]

Oh there definitely already is... s709 is the official Sony Venice LUT, which should get you in the ball park, but Alister Chapman has done some much better ones here: www.xdcam-user.com/picture-settings-and-luts/ or www.xdcam-user.com/2020/01/new-s709-lut-for-the-fx9-thats-less-green-than-the-sony-lut/ Just buy him a coffee if you find them useful.

[@KeithSklower]

@@extrashot , Wow, thanks much for the quick reply and good news.

[@PawelVlogs]

THANK YOU! Great settings. Using footage straight out of camera.

[@extrashot]

That's good to hear... thanks for letting us know. Take care.

[@glenjfilms1835]

Thank you so much for this. This was my job for on my holiday next week. Now I can focus on margaritas instead! Love your work,

[@extrashot]

Thank you... enjoy the holiday!

[@sebastienreichenbach1333]

Thank you SO MUCH ! The colors are amazing.

[@extrashot]

Thank you for the feedback... much appreciated.

[@Scriptfella]

Brilliant and very generous of you to share. Not everyone with your knowledge and experience would do this as a freebie (EOSHD I'm talking to you). One question please - I'm buying an A73S for my first documentary, and am a little apprehensive about mastering SLOG which needs to be ETTR overexposed etc. For an indoor interview with controlled, moody cinematic low key lighting, would it be okay to shoot in Cine 4? I'd love to shoot the whole thing in S Cinetone and be done with it but worry about grading flexibility later. Blue sky dreaming, if the doc gets sold and goes on Netflix - will they demand the whole thing is SLOGGED up to the eyeballs? Thanks Dominic

[@extrashot]

If you have the chance to do a proper grade afterwards or need more than 11 stops of dynamic range, then shooting LOG is always going to be more flexible, easier to match, and Netflix would probably prefer it! However, the whole ETTR thing is not so important with the latest Sony sensors (FX9, FX6 etc) which are much cleaner... especially the A7S3 because you can't turn the noise reduction off. The only reason you normally over expose is to clean the noise from the shadows because you are dropping the levels in post. Cinetone is really a profile which is intended to make it easy to use the pictures straight out of the camera without grading. A few of my clients only want to do a slight tweak at most! Thanks for the comment, really appreciated.

[@Scriptfella]

@@extrashot Thanks for the clarification. I'm a huge fan of your work - just up the road in Winchester.

[@extrashot]

@@Scriptfella I've just become a fan of yours! - love what you're doing with your channel and really useful to watch your advice on negotiating. You're probably not surprised to learn how much applies to crews and hiring of DOPs etc. Should be a must watch for anyone in the industry and your honesty on the figures is refreshing. Also nice to hear you're just up the road... let me know when you get the next Netflix deal and need a DOP !!! 😂

[@Scriptfella]

@@extrashot thanks, v glad you're enjoying my vids and that they're relevant to filmmakers as well as screenwriters. I will absolutely keep you in mind for my planned doc - all the participants happen to live in your home town...Let's have a chat in Jan. Just sent you a linkedin connection request. D

[@HGQjazz]

I'm gonna try these settings on my A7C and try to match it to my A6400 (using A7iii part 2 settings). We'll see!

[@AbrahamTario]

So what would be best for the white balance?

[@extrashot]

There's no specific value... they just have to be the same if you're matching two cameras (or as close and correct as possible).

[@MrVh78]

UPDATE IS NOW AVAILABLE!!

[@armando.visuals]

Yeap! He did it! He made sony be like: Fuck it!!! lets give it to them! lol

[@robinmc123]

You Sir are knight!!! You have rode in to save the day!

[@nessofilms]

Hey, great stuff you've got on your channel. Subscibed! I was wondering if you could do an A7S III version for slog3 s-cinetone and another your favourite profile using s log3, since we've got 10bit now :) Thanks.

[@extrashot]

Thanks for the sub... really appreciated. Not sure what you mean... is it the LUT you ned to put over Slog in the edit?

[@jimr879]

@@extrashot that video would get many views, at least mine, thanks for this one too, love your videos:)

[@BriangjohnsonTv]

So very generous.

[@extrashot]

Cheers Brian.

[@TheEverythingMan]

Nice work, i appreciate the effort

[@extrashot]

... and I appreciate the comment. Thank you!

[@RuXsel]

I wish i knew this before the a7siii update 😭..subbed 🙌

[@extrashot]

Still, you've found it now... and the sub is really appreciated, thank you!

[@AM-bq4cx]

Excellent work. It clearly shows ur indepth knowledge and understanding of colour science. Super work and many thanks for share it with the community. Much Gratitude. Pls also do a review of Fuji XT4 and check its Eterna profile. May be u can guide some better setup for video on it as well. Keep up the good work. God bless u

[@extrashot]

You're welcome and thank you for the kind comment... much appreciated! I've heard good things about the Fuji's with that Eterna profile but never played with it myself. Maybe I should.

[@Hangs4Fun]

Been waiting for this video, thank you so much. (I can think of a website or two, who sell these settings, so thank you for that). A subscription from me you already had, so I will share this video in all of the places I go. Cheers, have a great day!

[@extrashot]

Thank you for sharing, and the kind comment. It's appreciated!

[@Hangs4Fun]

@@extrashot hey Paul I looked for an email to send you a business question. Any chance you could share and then remove? I totally understand if not. Have a great day!

[@extrashot]

@@Hangs4Fun Hi Chris, No worries... it's on my about page... that's the best one to use.

[@bromoboy]

I really appreciate your hard work to match them, and you deserve 1 million like

[@eatiq]

You sir are an absolute legend! Myself and many people appreciate the hard work you have put in!

[@extrashot]

Thank you... too kind!

[@eatiq]

@@extrashot Absolutely! Would love to see more videos on custom picture profile settings for the A7SIII, recreating looks from other Cinema cameras (the Arri's and the Red's of the world.) Something I struggle to find with your level of attention to detail. Godspeed good sir!

[@extrashot]

@@eatiq That's a good idea... but would involve borrowing a few Cinema cameras of the world!

[@eatiq]

@@extrashot let it be said if I had any you would be more than welcome to borrow. Perhaps it helps to have some really influential friends, Philip Bloom perhaps 😅

[@extrashot]

@@eatiq 😂

[@whatalexdid]

Thank you so much for this I really appreciate all of the effort you went to to make this. I have been an A6500 shooter for so long using Cine 4 and have just picked up the A7Siii so I’m going to give these settings a go today.. First time viewer here but instantly subscribed after watching this. Thank you and happy new year 😀

[@extrashot]

Cheers Alex, and thank you for the sub, it's really appreciated. Happy New Year to you too!

[@whatalexdid]

@@extrashot quick update, I used these settings and found it much easier to work with than SLOG 3, so thank you soo so much!!

[@extrashot]

@@whatalexdid That's great, thanks for letting us know!

[@MotionTips]

Thank you for doing this

[@extrashot]

You're welcome... and I hope it works well for you.

[@User_not_found_403]

Amazing video! Appreciate the research and testing that went into these settings. Would love to see you adapt these for newly released Sony ZV-E10 - want to be able to use that nice budget cam to match footage on my FX3.

[@VidHeadz]

I love this, thank you so much for being transparent with the settings. I shot my last KZbin Video with these settings and it was just a tweak in saturation and Done.

[@extrashot]

That's good to hear... thanks for letting us know, appreciated!

[@senkathakali]

Thank u so much I love this video thanks for giving an slog 3 replacement because slog 3 creates a lot of problems for me on my editing software (filmora) so thanks so much ur research and work has been so beneficial for so many people so I just wanna thank u

[@extrashot]

You are very welcome... and thank you for the kind comment, it's appreciated!

[@ScoobieDee]

Very good thanks ... are you related to Phillip Bloom !

[@extrashot]

Stop it.... I get that a lot !!!

[@AgentBlackCrow]

@@extrashot seem to remember that PB mentioned you in one of his videos 😀

[@extrashot]

@@AgentBlackCrow We've known each other for many years! 👍

[@eaquiros8]

This looks great, can’t wait to test it out. Thank you!!

[@extrashot]

Cheers Eric, let us know how it works for you.

[@FARKINGFILM]

Thank you so much for all the time and effort you put in to this. I cant update the firmware for my As7II as I am running Big Sur on Mac - this has given me the opportunity to film in Cinetone today and oh the shots look gorgeous!

[@extrashot]

Thank you. I'm also running Big Sur and had to make a bootable version of Catalina on a USB stick. It's not difficult if you search for "running an old osx version on a usb stick"

[@13StopsPocketFilms]

This is gold! Couldn’t hit that sub button fast enough. Thank you.

[@extrashot]

Thank you for the comment and the sub... much appreciated!

[@paulanderegg5536]

The white balance on my Sony Z90 works similarly...it doesn't use a center spot or box, it simply averages the enntire frame! There is a benefit to it with run and gun, in that you can press the wb SET over and over in wide angle, or in your needed framing, and move around a bit each tim euntil your white appears how you like it. Imagine this when dealing with petrol station or other weird kelvin and green lighting, and having only moments to get a usable white.

[@extrashot]

Ha.... I know exactly what you mean. I also remember using cameras where I could move around looking for the white I want. I shot News for a few years and this was quite useful. How about a compromise of still having a small box... but make it a little larger for those who want to average a balance?

[@paulanderegg5536]

@@extrashot DIRECT MENU WB option that allows scrolling up and down for kelvin, as well as left to right for magenta/green adjustment ;-)

[@extrashot]

@@paulanderegg5536 Hi Paul... I tried to reply about a -10 black level issue you were having on the news shoot... did you delete it? On my scopes... I merely adjusted the black levels of the A7S3 to match those that were being output from the FX9 running S-Cinetone. Just to clarify... from the S-Cinetone White Paper it says: "The base curve of S-Cinetone is BT.709, but it adopted some essences of film-tone. It has high contrast tone in the low luminance levels and low contrast tone in the high luminance levels. The black level is lower than s709 and STD5 (R709)." "The black level of S-Cinetone is 1.5 % video level. It’s a bit lower than that of traditional video. Together with the low-light characteristics mentioned above, the black level is adjusted so that the darkest shadow area of objects might be just invisible. However, it is not clipped completely, so it could be made visible by setting the black to a higher level, e.g. 3%."

[@paulanderegg5536]

@@extrashot It appears that the "superblacks" are recoverable by elevating shadows in post...I was just not sure if this was expected or intentional, as you typically don't see profiles putting informartion below 0%. scontent.fsan1-2.fna.fbcdn.net/v/t1.0-9/131943323_3504760036299237_2243840939926519118_o.jpg?_nc_cat=101&ccb=2&_nc_sid=dbeb18&_nc_ohc=OBeiRRt75McAX-TViwq&_nc_ht=scontent.fsan1-2.fna&oh=9f33b6b6078cf935a40eff0104f15c73&oe=6003CF89

[@willkraft5734]

You’re a true hero!

[@ondrejjanoska660]

I just like your channel ...not owning any of these cameras yet ....hopefully fx6 soon.

[@extrashot]

Thank you... and for real cine cameras, the FX6 is pretty much unbeatable value. Looks amazing and arguably better than the A7Siii ?

[@ramdogproductions]

Very inspiring info for all of us. Happy holidays!!

[@extrashot]

Very kind... and I hope your holidays are happy too!

[@asura02]

I was trying similar settings but with cine2 instead of cine4, so I don't have to bother with superwhites. Thanks for your efforts, great video.

[@extrashot]

Good point... the Gamma won't quite be as close to the Cinetone but the colours should be okay. I'm taking another look at the knee settings to make it more broadcast safe!

[@asura02]

@@extrashot yeah fixed knee can be tricky sometimes, can't wait to see the results of your tests. You got a new subscriber :)

[@extrashot]

@@asura02 Thank you... it's appreciated!

[@CRISSBLAZINY]

This is great!!!

[@extrashot]

Thank you!

[@pizzablender]

These parameters are available on the A6500 as well. Didn't try them yet though.

[@extrashot]

What... you've tapped these numbers into an A6500 or it's available elsewhere? Love to know how you get on.

[@manitoumusicart6277]

Hi. Why do people want to mimic FX9 colors? Is it because they are considered a standard-bearer, or because of a need to match two cameras?

[@extrashot]

It's because the FX9 offers us S-Cinetone colours, which are meant to mimic the Sony Venice, which looks wonderful and most of us can't afford !!! (it also helps when matching two Sony cameras with usable pictures that you know clients won't grade)

[@manitoumusicart6277]

@@extrashot Thanks so much!

[@willy0297]

Any update on the "S-Cinetone" hack for Sony A7 III or prior models compared to the currently released S-Cinetone on A7S III?

[@extrashot]

The version 2 is proving popular: kzbin.info/www/bejne/nYO8eGiHgL2FiZY I'm trying to arrange a big test of a few cameras together... hopefully soon.

[@TheAppalit]

Hi Paul, thank you for this detailed video. I am mid-level / beginnet, who fancied the 7siii and bought 😁❤️. Now I am learning along the way. And this was super helpful. Quick question - if we have to use this setting. Do I need to check for white balance every time ? Or does auto white balance do the trick ?

[@extrashot]

Hi Arindam, The auto white on the A7S3 does a great job but it could shift mid shot depending on the lighting conditions. Personally, I would rather the white setting be fixed correctly and let the colour of the light change naturally within each scene. ie. lock the white for each location. It'll also be much easier to match in the edit if it's not constantly changing as the camera moves. However, if someone is just using one camera on a single shot... like a vlog, then none of this applies and auto white can be really useful... in which case, just ignore everything I've said !!! Take care.

[@tecnolatino5552]

Great video, thanks for sharing. I’ll try your settings.

[@extrashot]

Thank you!

[@norbutsering6807]

Can you please make S-Cinetone settings for Sony a7c. Thanks 👍

[@BigBernie_OG]

did you find a good S-cinetone for A7C?

[@digital711]

This is superb! Thanks very much - I’ve been spruiking your channel everywhere. Hopefully you’ve been getting a subscriber / viewer bump 😀

[@extrashot]

Brilliant Shane... thank you, it's appreciated!

[@ashransaid]

This settings looks lovely on a7c!!

[@BigBernie_OG]

did you try it on A7C?

[@BigBernie_OG]

Which one is better this one or the A7III settings?

[@illdaddyrod]

This is awesome and really appreciated. They match perfectly with your fx9! Thank you so much for sharing. Subscribed and liked.

[@extrashot]

Thank you for the comment and the sub... really appreciated. Welcome on board!

[@pk-meedia7804]

Nice work! How would You expose ? Zebra highlight values 100% ? ETTR ?

[@extrashot]

The A7S3 is so clean (with noise reduction you can't turn off)... I'm not sure you need to ETTR even with Log. Obviously, this Cinetone profile is meant to be used straight out of camera, so best to expose as close to perfect as you can!

[@Scriptfella]

@@extrashot You can expose SLOG on the A73 normally???? - I'd LOVE that to be the case. Any chance you could made a video about that, comparing the results with ETTR and without. Big ask but that would be epic .I hate the whole ETTR thing....

[@extrashot]

@@Scriptfella Good idea... it's just about the noise in the shadows. You over expose a bit so you can lower the levels in post thereby lowering the noise as well. As long as you've not gone mad with the ISO, the shadows are amazingly clean on my A7S3, so no need to ETTR.

[@Scriptfella]

@@extrashot This is great news for me, thanks.

[@RandomCornerUK]

Really cool video and tip! Subscribed ! Thanks for sharing this :)

[@extrashot]

Thanks for the sub, and the comment, really appreciated.

[@itsjustsamslife]

This is a bloody good video mate! Also, that gag @4:56 was priceless 😆

[@extrashot]

Thanks Sam.... hope you're well and still managing to shoot?

[@itsjustsamslife]

@@extrashot very well thank you! Always out with the camera even in the current climate!

[@extrashot]

@@itsjustsamslife Nice one... take care.

[@qusp2565]

Thanks For the Extra Shot ... very nice of you

[@extrashot]

Cheers, you're welcome!

[@alfredodelfino1]

thank you, very good your tutorial

[@FranckBourrel]

Yes ! Thanks a lot !!!!! Great stuff !

[@takesan0428]

Good setting!

[@hwa_lee]

Amazing. What would be the zebra setting for Cine 4 would you say? 100% like Cine 2? 109% like Cine 1?

[@ResizeFilms]

Cine 4 is more contrasty than Cine 2, I wouldn’t go over 100%. Greetings

[@adamblaster]

My previous research on this topic led me to Alister Chapman’s view on Cinegammas and that you’d UNDERexpose by 1-1.5 stops.

[@steveshields9071]

Great video!! Thank you so much for the work you put in on this!! I will be updating my settings on both the A7III and the A7SIII, which brings me to my question, do you feel like these two cameras will match each other based on these settings? Liked the video and subscribed as well. Thank you again.

[@extrashot]

Thanks Steve, In theory, you should get a close match using these settings on the A7S3 and the previous video numbers for the A73. However, it's much harder to get an exact match with the A73, simply because the video codec is 8bit 4:2:0... so not as much wiggle room before things fall apart!

[@rjackson5191]

QQ I was trying your settings on a RX100 VII. The only choices for Gamma are Cine1 & 2. I’m going to give it a try with Cine2 but was wondering what your thoughts are on that setting. I just found your channel the other day and have been really enjoying your content. Thanks

[@rlgrant00]

Great video and thank you for sharing your findings! I am definitely going to try this. In terms of exposure, do we have to overexpose like in slog3 or expose normally?

[@extrashot]

Thank you... no, you don't need to slightly overexpose with this profile as it's designed to be used straight out of camera. I'm not convinced we need to ETTR with SLog3 on the latest Sony cameras - FX9, FX6, A7S3. The reason we used to do it was to reduce the noise in the shadows. Because you were over exposing in camera, you could then bring the levels down in the edit which had the happy effect of bringing the noise down as well. The latest cameras are so clean, it's debatable whether we still need to do this at all?

[@dimanKu]

The day has come, official s cinetone on a7siii

[@extrashot]

...and gone... but it was a good day!

[@menoats]

Mark, thank you so much for this. You nailed it! This is amazing!

[@extrashot]

Cheers!

[@armando.visuals]

You did it man! You made Sony be like: Fuck it !!! lets just give it to them! lol

[@extrashot]

Doubt it was anything to do with me.... but I can dream!

[@olly5896]

Amazing work!!!!!

[@extrashot]

Thanks Olly... appreciated!

[@dawuddawid]

Great follow up to the first video. Might be worth looking into the a7III again since Pro Color Mode is available on that camera as well. I was a little surprised when you said it's not :-) Maybe you could do an updated video... And i and many people to that day are using the a7III as their main camera and would love to see the S-Cinetone PP for quick results and that beautiful colours. Cheers

[@extrashot]

You make a good point and you're not the first to suggest another look at the A7iii.... I'll work on it.

[@dawuddawid]

@@extrashot Great, thank you for answering. I am just waiting for the updated a7III to pop up in my notifications😁

[@hellohogo]

this is excellent. instant sub. thank you.

[@extrashot]

Thank you... it's appreciated.

[@BUONCO]

Thank you!

[@extrashot]

You're welcome!

[@markredanphotography6122]

THIS IS IN CREDIBLE man...Thanks a brunch!

[@extrashot]

... and thank you for the kind comment, it's appreciated!

[@PursuitPerfectSystem]

Thanks for this really appreciate it

[@RANIZM]

Great informative content 👏🏽👏🏽 thanks subscribed + liked + will share it

[@extrashot]

Thank you.. it's appreciated!

[@slimytoenails]

Amazing, thank you! If I were to want to match my A7rIII and A6600 to my A7sIII with your cinetone settings, would it be best to use the settings from the previous A7III video?

[@extrashot]

I honestly don't know... I haven't tried to match the A7Riii or the A6600 to Cinetone, and so far, each camera model looks to be a little different. You're not the first to ask about settings for the A6600 so I'll see if I can borrow one to get a match asap.

[@dimitrimoonlight]

Awesome Boss!