Sony to Canon Color Fix for Adobe, FCPX, and/or DaVinci! A7s, a6300, A7R, etc...

[Grant Pichla]

Hi,

I'm a videographer from Michigan who has discovered the key recipe for matching Sony photos and footage to the Canon look, primarily with a focus on achieving the Canon skin tones that we all know and love.  This will provide a shortcut for all editors trying to grade Sony images or footage, as well as bring assurance to those on the fence about switching over to Sony from Canon.

If you wouldn't mind checking out my video below, it explains everything about the recipe I've created, which will work in Adobe Premire, After Effects, and Photoshop, as well as Da Vinci Resolve and FCPX.  

https://youtu.be/vdSewOMbJiI

Thank you very much, and happy holidays!
Grant Pichla

 

[Davey]

Would have been interested but I have already purchased Andrew's Pro Color, which is as good as your effort but half the price.

[Cinegain]

Seems like he fixes in post, while it's better to handle the problem in-camera anyways as if greatly affects highlights for example as well.

Neways. What's up with everyone needing to sell tweaks all of a sudden? Imagine Magic Lantern charging to get the exploit... (and that would actually be justified)

[Nrubloc]

Regardless of any cost differences mentioned. There are various approaches to the Sony color or shift fixes and possible correction methods floating around.

Some are specific in camera profiles, correction via “pre-luts”, or others through video editor adjustments as this one seems to be, when used in conjunction with certain camera settings. All of these approaches probably have some merit based on different workflow preferences and such, yet many people are just probably looking to achieve similar results in camera whenever possible while shooting.

Having not seen a comparison of all the various methods or approaches together, I would gravitate towards an in camera option that maybe needed only very minor to no initial adjustments as a base, before any more possible aesthetic adjustments were to be made, unless proven otherwise. Of course even if all these different approaches where compared in a single video, they are still subjective as to what some would prefer over others. In my own past testing I have used the editor adjustment layer methods effectively as well for what I was working on at the time, but if an in camera profile helps a little bit to mitigate some of the extra adjustments, I would explore that as well and then probably compare.

Maybe we should all just wait for a “Sony” Magic Lantern… Canon sure has gotten a lot of extra mileage out of that. It’s what a lot of people wanted Canon to be offering by now, but they didn’t have to in their own new offerings directly.