https://www.eoshd.com/eoshd-pro-color-5/ EOSHD Pro Color 5 – Improve Sony’s color science – Now for all Sony cameras including A7S III / A7C / A7 III and more EOSHD Pro Color 5 is an advanced colour science solution for Sony mirrorless cameras, including the new A7S III, resulting in better image quality, wider dynamic range, better white balance and more attractive skin tones. Pro Color 5 improves Sony’s overall default look in-camera bringing it closer to the Canon Cinema EOS cameras and Arri Alexa. Pro Color 5 works on all Sony mirrorless cameras. There are no longer separate versions for different generations of camera. With version 5 you can use it on all cameras from the A7, A7S and A7R series, as well as for the first time the A9 and A1 series. The latest RX100 series cameras including the A6400, A6500 and A6600 are also supported. For the first time you can shoot Pro Color in 8K on the Sony A1 and record 10bit Pro Color on the Sony A7S III and FX3. Improve Sony mirrorless video color science straight off the card Comprehensively refreshed for 2021 using my latest improvements developed for over 2 years since version 4, Pro Color 5 has been fully tested and developed with Sony’s new 10bit codec and revamped colour science on the A7S III, with stunning results. Although Sony themselves have made some interesting improvements, EOSHD Pro Color 5 is able to bring even better results to the table and more choice beyond just S-Cinetone. The new small full frame rangefinder style FX3 and A7C bodies are also compatible. For the first time in the series, Pro Color 5 also now works with cameras even if they lack advanced Picture Profiles. Cameras like the Sony A9 and A9 II are supported via Creative Styles, customised white balance settings and other tweaks. Pro Color is designed for filmmakers who shoot video in 8K, 4K or 1080p. However it can also be applied to in-camera JPEG stills. What’s new? Updated profiles for all current Sony models including existing popular choices like the A7 III and A7C, with entirely new choices of look New 10bit and 8K models supported: Sony A7S III high frame rate 4K, 10bit codec, 8K on the A1 as well as other new models including the FX3 and A7R IV New cinematic profiles inspired by the Alexa, Leica cameras and Canon 1D C Straight out of camera skin tones look more flattering and cinematic Reduce colour clipping and posterisation in artificial light and 8bit Tames the Sony auto white balance system Fixes unwanted color casts and digital looking hues to make any scene look more natural Updated guide with detailed help to get colour where you need it to be All in-camera with no post required No installation software or special firmware required Hidden Content: **Hidden Content: You must click 'Like' before you can see the hidden data contained here.** Hidden Content: **Hidden Content: You must click 'Like' before you can see the hidden data contained here.**
can i ask, if change from pp1 to pp2 do i need to change white balance too? because it has differen settings.
Well technically yes as they are different values, but it probably wont matter as auto-white balance is very situational anyway The solution would be to assign each setup to the saved 1 and 2 positions on the dial (with a7iii) Personally I just chose one for my happysnap jpgs, though I'm preferring the Cobalt colors atm...
Many thanks! Do you have also LUT's for those settings? It's based on S-Gamut3.Cine color mode and it's probably need a correction in post.
Well, if you set the camera up as they say, you won't need any LUT's in post-production. It should be good and ready "right out of the box" Only, just keep correct the white balance. (did try and checked)
I am a professional film-maker for 30 years and use to use this years ago when the Sony's had crappy color, Nowadays they are much better and I might try this out even though I imagine it won't work with Slog 3 which is far better for Dynamic range than any other Profile. But I maybe surprised if I need a quick color situation. But again the Sony Color is quite good these days and Phantom and Juan Melara LUT"s are pretty hard to beat when using S-log 3. I will check this out just for curiosity. That image attached above is quite Magenta/Red heavy and actually does not look that great IMHO.
