Before -for the past years – I have been filming using the standard profile with my Sony cameras , generally with exposure reduced -0.3 to -0.7 , and generally with no color editing or limited to reducing brightness of mid tones and sometimes the highlights – using the color wheels in Final Cut Pro X (FCPX). Intensive color grading was used only for underwater video , archive footage, special effect videos, or when needed for combining footage from different cameras.

Over the past week, however – while focussing actually on audio tests comparing microphones with the Sony ZV-1 camera , I have started using the Picture Profile 10 (PP10) with the Hybrid Log-Gamma ‘HLG2’ , and kept using it when I learned a few days ago that PP10 HDR footage can be used with no modification after changing the clips setting (in the FCPX clip inspector) ‘Color Space Override’ from ‘Off’ to ‘Rec.2020’ (corresponding to the BT.2020 setting in the Sony default PP10 profile.

So I used original – non color graded – PP10 footage for the review videos published the last week on the Sennheiser MKE 200 microphone of Sep. 20, 23, and 24 (20200920, 20200923, 20200924) .

Today I took that clip I used before for the 20200920 video , and did this first simple color grading resulting in a more realistic image – quite different tweaking from what usually is needed , but nevertheless fairly simple changes : turning of the color wheels in FCPX : slight overall (master) increase of saturation , plus a slight reduction of the brightness of highlights and shadows, plus a large increase in brightness of the midtones.

Sound from the Sennheiser MKE 200 microphone without the furry windshield.

Color Grading Sony ZV-1 Cinematic HLG footage | 20200925 | 1-memo.com