So I own both, but I somewhat like the colorscience of the Canon better. Mind you, I've shot loads with the FS7 alone and have no issues handing over that footage.
But I wondered if it might be possible at all to match up the two cameras in cases where it would be fun to use two angles at the sane time.
So off into DaVinci and play around.
First thing I notice with the raw footage is that their differences in color science is limited to specific colors. It's not that either Sony or Canon decided to just tweak the color temp or hue... they actually twist individual colors and some colors not at all...
The main difference that really sticks out is the Canon red. Sonys red has a bluish tint which I find quite un-diserable to be honest. But besides that, they seem to differ in greens, yellows and ever so slightly in caucasian skin tone and blue.
The image below has the Canon chart up top and the Sony chart below. Check out the hoops I had to go through to match them up as well as I could. It's quite a lot... the labels on the nodes are references to column and row number.
The node labelled General Sat was reset at the end... so it doesn't do anything.
But basically I did a slight offset of the c-log footage, since it was 1/3 stop overexposed and did a custom white balance with a curve. That's it.
Then I did the same with the Sony footage and started working on individual colors. This was done completely with hue vs hue, hue vs sat & hue vs Lum. There were no power windows / masks involved.
But I think I got pretty close to something useable. My biggest worry now is if the Sony footage can hold up to further grading after this.
Ended up exporting a lut, tried applying it to some HMI footage I shot in a premiere project and it worked beautifully.....
Will be making an opposite lut to match the 5D4 footage to the FS7 as well...
Gear used:
- 5D4 with 24-70 2.8L II - c-log completely desaturated
- Sony FS7 II with Fujinon MK 18-55 2.9 - cinegamma s-log3
But I wondered if it might be possible at all to match up the two cameras in cases where it would be fun to use two angles at the sane time.
So off into DaVinci and play around.
First thing I notice with the raw footage is that their differences in color science is limited to specific colors. It's not that either Sony or Canon decided to just tweak the color temp or hue... they actually twist individual colors and some colors not at all...
The main difference that really sticks out is the Canon red. Sonys red has a bluish tint which I find quite un-diserable to be honest. But besides that, they seem to differ in greens, yellows and ever so slightly in caucasian skin tone and blue.
The image below has the Canon chart up top and the Sony chart below. Check out the hoops I had to go through to match them up as well as I could. It's quite a lot... the labels on the nodes are references to column and row number.
The node labelled General Sat was reset at the end... so it doesn't do anything.
But basically I did a slight offset of the c-log footage, since it was 1/3 stop overexposed and did a custom white balance with a curve. That's it.
Then I did the same with the Sony footage and started working on individual colors. This was done completely with hue vs hue, hue vs sat & hue vs Lum. There were no power windows / masks involved.
But I think I got pretty close to something useable. My biggest worry now is if the Sony footage can hold up to further grading after this.
Ended up exporting a lut, tried applying it to some HMI footage I shot in a premiere project and it worked beautifully.....
Will be making an opposite lut to match the 5D4 footage to the FS7 as well...
Gear used:
- 5D4 with 24-70 2.8L II - c-log completely desaturated
- Sony FS7 II with Fujinon MK 18-55 2.9 - cinegamma s-log3