With the updated firmware on the FS100 many people have also been asking about new Scene Files for the camera. There was talk about the color or gamma modes changing with the new firmware, but from my testing and from what Sony has told us this is not the case. However, it was well worth re-examining our original files to come up with some new looks for you to try out on the camera.

Canon provides several De-Log LUTs on their website that are meant to convert Canon Log back into REC709 or video gammas. These files can be found on Canon's website but can be tough to use, because they are given in 1D LUT format as a simple CSV (comma seperate value) file.

With more and more cameras shooting in flat-looking Log modes or RAW, the topic of LUTs on set and their implications in post have become big points of discussion. At the same time, there are many cameras that utilize the more traditional Scene Files for control of color and contrast. Furthermore, there are cameras like the ARRI ALEXA and RED EPIC that offer their own unique types of image control. With all these different formats, the difference between LUTs, Looks and Scene Files can be confusing, so in this article I explain the terms and discuss how these files are applied.

Just as we have done for other cameras in the past, we've put together several custom profiles for the C300. Many of the looks are the same as those found in the Sony F3 and other cameras that we support. The C300 has several great default looks that can always be used. However, our profiles attempt to match other popular cameras, or give you the best performance in a given situation. We put together seven different files for you to choose from, which are outlined below.

When Arri released the SUP 4.0 firmware for the ALEXA, they also added the ability to create color 'Looks' to load into the camera. These Look files are similar to scene files found in other cameras, but they aren't burned into the Log C recording of the camera. Instead, they can be used in post by converting them to LUTs using Arri's LUT Generator. These looks then travel as metadata with the clips recorded (through the XML file). Look files can be created by saving a still from the camera and loading it into the Arri Look Creator, which can then modify the still and output a look.

A few weeks ago I put together some scene files for the Sony PMW-F3, and many people have been asking for scene files for the new NEX-FS100 as well. I put the two cameras together and made matching scene files that incorporate some of the settings I described in my FS100 dynamic range blog.

Over the years I've held a lot of one-on-one camera training sessions with owner-operators of varying skill sets - some who had been working with a particular camera for years and were finally buying their own, all the way to people who had never worked in the industry and were just getting started. I can tell you that the vast majority of them did not know how to load or copy scene files. You can all breathe a sigh of relief, knowing you're not alone in this world. However, I do have a visual that should help those of you too afraid to ask for help: a simple ladle, some soup and a bowl. Hopefully, this analogy will help you the next time you try to load or copy a scene file from one camera to another, and it applies to both Panasonic & Sony cameras.

The Sony PMW-F3 has a very nice standard look right out of the camera, but it also has many many ways of adjusting the image to your liking. At AbelCine we have been making scene files for our clients, designed to both match cameras and create a look. With the wide range of adjustments available in the F3's picture profile control, I was able to make several looks that you might find useful. Some are aimed at maximizing the range of the camera, while others are aimed at creating a specific look.

Many people have been asking for suggestions on scene files for the AF100, so I put together a couple that I think you might find useful. In the process of creating these files, I also discovered several ways to reduce sensor noise. Reducing the detail levels helped, but to my surprise, changing the Matrix settings to NORM2 seemed to make the biggest difference.