AlanU wrote in post #18607386
Hmmm Charlie sounds like you have a good system in place.
I'm quite pleased with the how things are coming along with Sony. I definitely can feel the need to go all native. However so far I've been getting consistent results with my adapted Canon 24Lmk2 and 35 f/2IS.
I do find the slightly more MP of my 5dmk4 to be a step above my 5dmk3. I can imagine a pleasing gut feel of editing an A7rmk2/3 raw file with incredible details.
So far the 24 MP files from the A7iii is very good to my eyes. I'm so junior to Sony RAW files in LR that I'm just getting a feel of how to manipulate the settings.
Hey anyone care to share their "typical" basic presets they hammer their Sony files with???? is there a drastic workflow difference between the A7R2/3 and an older A7rmk2??? I would imagine so.......
So far I see more clarity in the Sony files.....almost as if I was using alot of clarity on the slider of my Canon files.
No complaints because I'm just getting a feel of how Sony RAW files manipulate.
I played the adapting game for years, still have tamron's 28-75 f2.8 and 70-200 f2.8 VC adapted. Sony equivalent is too much money for the incidental use, especially the 70-200, which I rarely use since I typically favor the 135 prime for size.
Get yourself at least a small prime like the 28/35 or 50 1.8, I have them all and love them all. Having owned 4 different type of sony bodies, there is subtle difference in color science for all of them, with the late models most pleasing and generally better at WB. LR tends to oversaturate one channel and that always irked me, so I use capture one for more subtle hues. Problem with capture one is that you cant import a stack into photoshop..... at least, it's not nearly as clean as doing from LR. Having a skin tone picker seems to do the trick for me, when high quality skin tones are an utmost priority. There tends to be a green bias with sony files, so be ready to slide the tint with LR. Once you square away WB issues, the rest is cake.
BTW, you can set a bias in your AWB settings, and that's how I typically work sony files to my liking, I'll get them good in camera, which is especially important when working with video, as video workflow is sort of long as is, reducing PP in video drastically speeds up overall work. AWB(W) is my typical setting with A1, M0.75 adjustment. If I'm indoors, then incandescent works good, even with LED lights. I use 0, M0.5 for that adjustment, and that gets me well enough (I'm sure it can be tweaked better if I bothered). I hardly ever touch the fluorescent, but when I do, thats using default, no bias.
with this stuff in mind, you should be able to deal with colors more easily. Zeiss lenses help a bit even further
I'm fine working with any lens, but if you're looking for ultra pure color, it's hard to beat zeiss stuff. Contrast can even be considered a little heavy handed. I'm not that finnicky, so I'm ok with my lenses not all being zeiss.
Sony A7rii/A7riii - FE 12-24/4 - FE 24-240 - FE 28/2 - FE 35/2.8 - SY 35/1.4 AF - FE 50/1.8 - FE 85/1.8 - EF 135/1.8 Art - F 600/5.6 - CZ 35-70, 100-300 - Astro Rok 14/2.8, 24/1.4 - Tamron 28-75/2.8 RXD, 70-200/2.8 VC