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Sony makes several digital cinema cameras, such as the F65 and F55, that record wide latitude, high- gamut media either using Sony’s 12-bit SR codec, or as 16-bit raw media files. Since Sony’s cameras do not use a traditional Bayer pattern, special debayering is necessary when working with F65 raw media, and the image data is demosaiced using the following raw controls and parameters.
Master Settings
These parameters let you choose the decode quality, white balance, color space, and gamma that Sony raw clips will be transformed to use when debayered.
— Decode Quality: Determines the image quality of the decoded Sony raw data that’s handed off to the DaVinci Resolve image processing pipeline regardless of the Play Quality setting. The Decode Resolution you select has a direct impact on real time performance, and decoding performance depends entirely on the hardware capabilities of your system.
If necessary, you can choose a lower resolution setting that provides better real time playback on systems with limited performance while you work, and then switch to a higher quality when rendering the final output. A “Force debayer res to highest quality” checkbox in the Render Settings list of the Deliver page makes it easy to follow this workflow.
— Decode Using: The option you select determines whether all F65 media throughout the project is decoded using the original Camera Metadata settings (the default selection), using Project settings in which you choose custom settings to be applied to all clips, or using the Sony default settings.
Project Settings
These settings control the fundamental methods used to debayer Sony raw media. The selections you make to these settings determine the basic color and contrast that you’re choosing to extract from the camera raw image data.
— White Balance: The first seven options offer White Balance presets, which automatically adjust the Color Temp and Tint parameters. These options include: Daylight, Cloudy, Shade, Tungsten, Fluorescent, and Flash. An eighth option, Custom, makes the Color Temp and Tint parameters user-adjustable.
— Color Space: Multiple color spaces are adjustable, depending on your intended workflow:
— Rec. 709: Decodes into the standard color space specified by the Rec. 709 standard for high definition video.
— P3 D60: Decodes RGB-encoded image data with a D60 white point, intended for monitoring with a P3-compatible display.
— SGamut: Decodes into Sony’s wider S-gamut color space, designed to provide the widest range of image data for adjustment.
— SGamut3: The gamut is identical to SGamut, but color reproduction is more accurate, according to Sony’s “Technical Summary for S-Gamut3Cine/S-Log3 and S-Gamut3/S-Log3” whitepaper.
— SGamut3.Cine: According to Sony’s “Technical Summary for S-Gamut3Cine/S-Log3 and
S-Gamut3/S-Log3” whitepaper, S-Gamut3.Cine is designed to provide a more traditionally log- encoded workflow with color reproduction that is slightly wider than the P3 gamut.
— P3: Decodes to an RGB-encoded image data with a D61 white point, intended for use when outputting media for DCI mastering.
— ACES: Decodes to image data that maps to the ACES profile for the camera that was used.
— Gamma: Five gamma settings are available, depending on what starting point you want to use for further grading.
— Gamma 2.4: A simple power-function gamma setting commonly used for broadcast.
— Gamma 2.6: A simple power-function gamma setting commonly used for digital cinema projection.
— Rec. 709: A gamma curve typical for Rec. 709 display.
— SLog: Not designed for viewing, Sony’s SLog gammas are designed to provide a wide latitude for grading; 14-stops according to Sony. 18% gray is at 38%.
— SLog2: This version has a half stop offset from SLog to allow for a higher dynamic range. 18% gray is at 32%.
— SLog3: An “easier to grade” version of SLog. 18% gray is at 40%. According to Sony’s “Technical Summary for S-Gamut3Cine/S-Log3 and S-Gamut3/S-Log3,” SLog3 is designed to provide a more traditionally log-encoded workflow, with a gamma curve that is similar, but not identical, to Cineon workflows.
— Linear: A simple linear gamma setting.
— Lift: Adjusts the black point of the media, raising it or lowering it while scaling all midtone values between it and the white point. Regardless of how you adjust this control, all image data is preserved and can be retrieved in subsequent adjustments. The range is –100 to +100.
— Gain: Adjusts the white point of the media, raising or lowering it while scaling all midtone values between it and the black point. Regardless of how you adjust this control, all image data is preserved and can be retrieved in subsequent adjustments. 0 is unity. The range is –100 to +100.
— Contrast: Raising contrast reduces shadows and raises highlights, while leaving midtones at 50 percent unaffected. Regardless of how you adjust this control, all image data is preserved and can be retrieved in subsequent adjustments. 0 is unity. The range is –100 to +100.
— Sharpness: A debayer-specific sharpness filter applied to provide the appearance of enhanced image detail. 20 is unity. The range is 0 to 100.
— Highlights: Makes it easy to selectively retrieve blown-out highlight detail in high-dynamic-range media by lowering this parameter, and achieves a smooth blend between the retrieved highlights and the unadjusted midtones for a naturalistic result. 0 is unity. The range is –100 (minimum) through +100 (maximum).
— Shadows: Lets you selectively lighten or darken shadow detail. Raising this value retrieves shadow detail recorded below 0 percent, while leaving the midtones alone. 0 is unity. The range is –100 (minimum) through +100 (very high).
— Color Boost: Lets you naturalistically raise the saturation of regions of low saturation, sometimes referred to as a vibrance operation. Can be used also to lower the saturation of regions of low saturation. 0 is unity. The range is –100 (minimum) through +100 (very high).
— Saturation: Adjusts the color intensity of the image. 0 is unity. The range is –100 (minimum) through +100 (very high).