How To Color Match All your Sony Cameras with Simple Tweaks
- Veres Deni Alex
- Sep 13, 2023
- 11 min read
Updated: Feb 13
Getting accurate, consistent colors across multiple Sony cameras can be super challenging due to subtle differences in their sensor technology and color science.
But these color differences throughout camera models result in inconsistent results in color when using the custom Sony Picture Profiles. And we want to get the same kind of colors even if we switch from our little Sony RX100 to our newer Sony a6700 or Sony a7s III.
In this post, I’ll show you how to easily match the colors of all your Sony cameras by using some simple tweaks. 👇
Table of Contents
Sony Cameras Color Science - yay or nay?
Sony is known for making some of the best cameras in the market, especially for video. They offer a wide range of models, from compact point-and-shoots to full-frame mirrorless beasts. They also have some of the most advanced features, such as autofocus, stabilization, and dynamic range.
However, Sony colors have been criticized over the years by pro and hobbyist videographers alike - no secret around that. It's a controversial topic, for sure.
Throughout the last couple of years, Sony's color science kept evolving pretty fast. Early mirrorless models had a green cast that produced some unpleasant skin tones that made it hard to work with without heavily relying on post-processing.
But to be honest, the only way you’d not rely on some post-processing is if you’re shooting JPEGs. So - this color science argument is geared toward JPEGs. If you’re thinking of switching to Fuji because of their film simulations and color rendering, but you love your Sony camera - mastering the Sony Picture Profiles might be enough for you.
Subsequent models produced some overly magenta-casted skies. Recently, Sony's colors have greatly improved and we get more balanced colors.
In the color category, I feel they did a great job in fixing the main issues with the color shifting and skin tones. It's at a point where it can compete without any struggle with Canon, Fuji, Nikon, Blackmagic, Panasonic, and so on.
There are some areas where Sony still needs to improve, and I would say camera design is a great example.
Some low-tier cameras like the Sony a6700 have degraded in terms of design and build quality, if you ask me. But that's a story for another day.
Recently, I tested and adjusted all film simulations on the new Sony a6700 for better accuracy on newer sensors. I also wrote an article showcasing all 51 custom Sony film recipes in a real-life situation for a better understanding of each simulation's characteristics!
As Sony keeps improving their color science with each newer model, it seems fair to calibrate their color profiles with the newest sensors available, since they are most likely not going backwards.
How To Color Match All Your Sony Cameras - A Quick Example
Many of us have a combination of older and newer cameras, so what do we do with the color differences? After all, there are some iconic cameras like the a7S III which will continue to be the standard for the next couple of years, being one of the best in terms of versatility, lowlight, color, and features.
I'll take you through a step-by-step color matching process - let's go!
1. Sony colors differences amongst cameras - RX100 VI vs a7 III vs a6700
As I said, different Sony models produce different results in terms of colors. And if you switch from one Sony camera to another, you’ll run into some compatibility issues.
For example, if you want to use the same Sony film simulation on different cameras, you may get different results. Or if you want to mix footage from different cameras, you’ll have to spend more time and effort to match the colors.
The sensor on the Sony a7SIII is still rather new at the time of writting this article 2023, but the color science differs from the Sony FX30 or a6700. It's more on the magenta side, while the a6700 sensor feels more on the green-yellow side, and less saturated, which brings up color compatiblity issues when using various Sony models.
To illustrate this problem, let’s take a look at some examples of how different Sony cameras produce different colors and tones, even when using the same film simulation. 🔽
Let's take the Sony RX100 VI vs Sony a7 III vs Sony a6700, all with the Kodachrome V1 film simulation baked-in.
Sony RX100 VI vs Sony a7 III vs Sony a6700
Exposure settings variable to match the Brightness on all 3 cameras.
Lenses: RX100 has its own Zeiss lens, while the a7 III and the a6700 have been shot on the same lens, which is the Tamron 28-75mmm f2.8. I forgot the black mist filter on the Tamron, so the black will be faded on the a7III and a6700 compared to the RX100.
The differences are clear to the eye. Totally different at first sight, but easily matched with some minor adjustments.
From my experience using these cameras, I would generally say:
The RX100 is colder and more on the cyan-teal side with a higher saturation than both cameras.
The a7III is heavily magenta and least saturated from the bunch.
The a6700 is slightly warmer, less saturated than RX100 and overall well balanced in color, but sometimes can have a yellow green cast compared to other hybrid mirrorless.
Understanding your camera's color tendencies is crucial for fixing color issues straight out of the camera, without relying on post-processing. This knowledge is the first step in effectively color matching any camera.
When analyzing an image, always check for the primary colors. Meaning Red, Yellow, Green and Blue. This will help you understand where your colors stand and which way you need to push them in order to enhance the image.
I have a full article explaining the basic workflow behind this technique, and how to use Sony's Picture Profile menu to calibrate and match colors between different camera models.
2. Choose a reference model for calibrating your colors. 📷
So, how can we calibrate and match the colors of different Sony cameras, using some simple tweaks?
To fix and color match them, I first need to decide which camera I like the most. This will be my reference model, and my choice falls between the RX100 and the a6700.
I love the colors on the RX100 because they are really easy to work with, but the a6700 has a newer sensor with improved color, so that will be my reference choice.
As I mentioned, with the a6700, Sony did more than improve their color science, they also changed how the sensor reacts to light and shifts colors in accordance with exposure. The yellows and the blues will especially look a lot better, which was the main weakness of Sony colors if you ask me.
Pro tip! 👌
With most Sony cameras I've noticed that when overexposed, yellow shifts toward green, and when underexposed, they shift toward orange. This can also be noticed with the blues. When underexposed, blues shift towards magenta, while overexposed they start shifting towards teal. This might be because of the color tendencies of the sensor and overexposure might cause most colors to shift towards green-yellow, while underexposure might shift colors towards magenta-blue.
Understanding this behavior helps us understand the way Sony sensors interpret color and the shifting tendencies according to exposure. I showcased how sensors behave in over exposure and under exposure in this article.
Alright. Back to the subject.
I will choose the Sony a6700 as my main reference point, and I will try to bring the other two cameras as closely as possible.
Now, let’s try to match the colors of these Sony cameras.
3 - Perform a Quick test - Adjust White balance parameters - Kelvin, color phase, and color filter 🎨
The Sony RX100 VI is much colder, so to match it with the a6700 I raised the temperature +300 Kelvin and shifted the color phase down to -4. These adjustments added more warmth to the image and shifted the blues towards magenta and skin tones towards amber, coming closer to the a6700.
The Sony a7III is cold and on the magenta side, so to fix this issue, first I will shift the color phase at 0 to shift colors clockwise and correct the magenta hue. Next I'll raise the temperature by +200 Kelvin and set color filter from A7-M0.75 to A7 straight to aid with the highly magenta cast.
And the colors are already coming much closer than before.
The results from this quick five-minute test are quite promising, and all done in just a couple of minutes before sunset, so there was a bit of a rush. This shows that color matching your Sony cameras doesn’t take much time if you know what you’re doing—it just requires a bit of practice! However, matching all three cameras using only the EVF can be challenging.
I may have pushed the warmth too far on both the RX100 and a7III; further reducing it by about 100 Kelvin would have been ideal. While the a7III still leans toward magenta, the cameras look quite similar overall, especially when comparing before and after shots. This demonstrates that with some practice, you can achieve excellent color matching with Sony cameras in a short amount of time!
Color matching allows us to achieve a cohesive look across different cameras, but it’s important to recognize that some differences will always remain. Our goal is to create similar colors and pleasing skin tones without the need for extensive post-processing. By understanding Sony's picture profile menu, we can enhance our workflow and produce more consistent results straight out of the camera.
4. Before - After color adjustments
Most people will be satisfied with the results so far, but to push this test even further, I'll need to conduct tests in a controlled environment to accurately match the cameras with the a6700.
As a general guide!
Sony cameras with highly magenta cast
For cameras with cold and purple tendencies —> you need to raise the Kelvin, shift the color filter towards Green by 0.25 or 0.5 stops, and lift the color phase by a couple of steps on top of the original film recipe.
Example
+200 Kelvin
Color Filter +G0.25
Color Phase +2 steps
Sony cameras with highly yellow-green cast
For cameras with yellow-green tendencies —> you need to Lower the Kelvin, push the color filter towards Magenta by 0.25 or 0.5 stops, and maybe slightly increase or decrease the color phase to shift all the color to your liking.
Check skin tones first! If the skin is too pink, decrease the color phase by -1 or -2 steps, if it's too orange- yellow or green, start raising it by +1-2 steps.
Example
-300 Kelvin
Color Filter +A1+M1
Color phase between +2 and -2 depending on how skin tones present themselves.
5 - Precise comparison of the cameras in a controlled environment
Let's take a look at a test in a controlled environment to see if we can get them even closer. I included a color checker and a couple colorful images to have a wide range of colors for comparison.
Kodachrome V1 - Before Adjustments
Sony RX100 VI vs Sony a7 III vs Sony a6700
The a6700 handles the yellows and the reds a lot better compared to the RX100 VI and the a7 III, a difference which cannot be completely matched.
Based on the original recipe, I made these adjustments to closely match all cameras:
Sony RX100 VI : +200 Kelvin, -2 Color Phase, Saturation Down by -2 levels according to the original recipe, and Color Filter pushed 0.25 stops towards Magenta.
Sony a7 III : +100 Kelvin, +3 levels of Color Phase, Color Filter slightly shifted towards Green.
Sony a6700 : No adjustments.
Kodachrome V1 - After Adjustments
Sony RX100 VI vs Sony a7 III vs Sony a6700
Of course there will still be some color differences considering these cameras are five years apart, but the outcome is quite impressive!
This might seem like a lot of hassle, but you don't need to go as far as I did, and I usually don't go so far in using a color checker. I simply eyeball it untill it feels right.
I only did it to showcase the possibilities, and how far one can go with the color matching. Whenever I use my cameras, I like to keep it loose, and I simply eye ball the adjustments. After all, it's about getting great colors and enjoying time creating rather than staying inside for hours perfectly color matching each picture profile.
After these adjustments, the RX100 VI comes much closer in terms of color to the a6700, which is a pleasant surprise. This only makes me recommend it with more confidence. Even if it's a 5-year-old camera, the color science is solid. For the price given (450 euros second hand) it's an absolute steal!
Sony film simulation compatibility
You know what I think it's really cool? That we can use these recipes even on older Sony cameras and fix their color, something not possible with Fujifilm system, as each Fuji camera has only a predefined number of film simulations. With Sony cameras we can adapt and match these film simulation to our own camera, even if it was released 6 years ago, and get similar results to newer cameras. The only limitation is the available gammas in our cameras. For example there will be some recipes based on S-Cinetone, CIne3 Cine4 or HLG gammas, some of which will be found only on newer cameras. But out of the vast options of film simulations available in the bundle, only about 12 won't be fully compatible with older cameras. Leaving more than 50+ film simulations to be explored even in older Sony cameras. That is worth noting.
Color Matching your Sony Cameras - Main Takeaways
Color matching cameras is not an easy feat. This process has a steep learning curve. But once you get it, you’ll see color in a whole different way.
So - here’s the main workflow you’ll want to follow when color matching Sony cameras:
1. Choose a reference model.
Choose a primary camera as your reference point for color calibration. This model will serve as the benchmark against which you align the colors of other cameras in your setup. Consider factors like color accuracy, ease of adjustment, and overall preference when selecting the reference model.
2. Understand how each camera renders colors & its main weaknesses.
One easy trick is identifying the predominant color that your camera renders. Are the colors cold or warm? If cold, what hue of cold, is it teal, blue, velvet magenta, or pink? If it's warm, what hue of warm? Green, yellow, orange or red?
Then, further define the hue. Get into the nitty-gritty of it.
Let’s say the camera has some green tendencies. Is it pure green, teal green, or olive green?
By precisely identifying colors, you get an understanding of the main color issues, and only afterward you can start counterbalancing the hues with the kelvin and the color filter, pushing and adding color into the image to balance out nasty hues of yellow and magenta.
3. Adjust in small increments and check results frequently. Don't over-correct, subtle adjustments are usually best.
Conduct precise comparisons in a controlled environment to assess the accuracy of color matching adjustments. Use consistent lighting conditions and reference images to evaluate how well each camera aligns with the desired color profile. Use the white balance adjustments such as Kelvin values, color phase shifts, and color filters to fine-tune the colors of each camera.
4. Go back and forth until you achieve the desired result!
Continuously refine your color matching settings based on feedback from test shots and comparisons. Pay attention to skin tones, overall color balance, and consistency across different scenes. Fine-tune parameters like Kelvin values, color phase shifts, and color filters until you get that cohesive look across all cameras.
Start with the Film Simulations for Sony
And there you have it - a color matching workflow to help you get your cameras as similar in color as possible.
You’ll see - once you get the hang of it - it will all flow! To make it easier to spot color differences, you can use a free Sony Film simulation and compare the color differences between cameras. Access them here:
P.S - this is the previous version of the Sony film recipes. I’ve updated them to match the color profile of newer cameras! Explore the Sony Film Simulations here.
I hope this short color matching helps you get better colors- let us know what you think or join the forum and showcase your results! 💬
Or try my free recipes