SCL-CL-025CL: FL (Film)

Film Look · Sandeeshwara Perera

Film Look (FL) Creative Look recipe by Sandeeshwara Perera, Sri Lanka, from Sony's Alpha Recipes collection. Shot with Creative Looks Curves, contrast and shadows adjusted in post

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White balance

White Balance Shift

5200K, A4-M3

Temperature5200KColourClose to neutral daylight

The colour temperature the camera balances for. Set it higher than the actual light and the image renders warmer; lower and it renders cooler.

Shift A/BA4ColourFull amber push — clearly warmer

Fine adjustment along the amber–blue axis, on top of the temperature. A warms the image, B cools it. Up to 7 each way, in 0.25 steps.

Shift G/MM3ColourMagenta tint

Fine adjustment along the green–magenta axis. This is the tint control — it corrects casts that temperature alone cannot reach, such as fluorescent light.

Overall tone

Overall this reads strongly warm — sunlit skin, whites tipping to cream, blues held well back. A light magenta lean sits over that, most visible in skin tones.

Not a contradiction: Temperature and Shift A/B are the same amber–blue axis in different units. 5200K sets a cool base and A4 pulls part of it back, landing on a balance the Kelvin dial cannot reach alone — its 100K steps are coarse down at 2500K and very fine up at 9900K. Read the pair, never either number by itself.

How Temperature, A/B and G/M combine

Three dials, one result. Temperature declares what light you are claiming to shoot under, and the two shifts nudge the outcome off that declaration.

The part that trips almost everyone: a higher Kelvin number produces a warmer picture, not a cooler one. The number describes the light, not the output. Tell the camera the light is 8000K — very blue — and it compensates by adding amber, so the file comes out golden.

That is why Temperature and Shift A/B are really one amber–blue axis in two different units, and why a warm Kelvin paired with a B shift is not a contradiction. It is a broad warm base with part of it deliberately pulled back. It buys precision the Kelvin dial cannot give on its own: a single 100K step is worth about 15 mired down at 2500K but only about 1 mired up at 9900K, so the shift is the finer control at the warm end and the coarser one at the cool end.

Shift G/M is the second axis, and Kelvin never reaches it. It is the tint control: G cancels the green cast of fluorescent light and open shade, M goes the other way.

Camera settings

Creative Look

LookFLColourFilm base — moody colour with sharp contrast

Contrast+2ContrastContrast raised a little

The higher the value, the more the difference between light and shadow is accentuated.

Highlights+4ContrastBright areas lifted a little

Adjusts the brightness of the bright areas. Higher values make them brighter.

Shadows+4ContrastDark areas opened up a little

Adjusts the darkness of the dark areas. Higher values make them brighter.

Fade0ContrastNo fade — blacks stay true

Adjusts the degree of fade — a milky lift on the whole image. Larger values make the effect greater. Never negative.

Saturation0ColourColour as the Look defines it

The higher the value, the more vivid the colour. Range is -9 to +9 — much narrower than Picture Profile saturation. Cannot be adjusted on the BW or SE Looks.

Sharpness4DetailNo sharpening — softest rendering

Adjusts sharpness. Higher values accentuate contours; lower values soften them. Never negative.

Sharpness Range3DetailSharpening across the middle range

Sets the range the sharpening applies to. A larger value applies it to finer outlines. Runs from 1 to 5 and is never negative.

Clarity1DetailNo clarity boost — smooth mid-tones

Adjusts the degree of clarity — local contrast in the mid-tones. Larger values make the effect greater. Never negative.