and Europe Sony has received a lot of requests to make their cameras appear more “filmic.” I’m sure that doesn’t thrill them, as they take great pride in their color science, but at the same time they are willing to listen to their customers and give us what we want. Arri has successfully transplanted the best characteristics of color film into a digital camera, and because the film aesthetic is such a strong cultural influence in the U.S. The current gold standard for digital color is the Arri Alexa. I also have a vested interest in the results as I had a hand in developing the LUT through which these images were processed. Still, I can learn some of it, and that’s why I shot these tests. What I’ve learned is that there’s so much to learn I’m never going to learn all of it. artistic (“We think blues look better when they’re a little bit cyan!”).
I’ve spent a lot of time trying to figure out which choices are manufacturing-based (“We’re stuck with this because of how we built the camera!”) vs. Every camera manufacturer, just like every film manufacturer, has their own look-their own way of interpreting and rendering color and contrast-that defines them and their products. SGamut color space and their brand new one, SGamut3.cine.įor several years I’ve been fascinated by camera color rendition. Recently I shot some comparison tests between Sony’s older
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