SCL-CL-005CL: VV2 (Vivid 2)

Vivid2 · Jonpoon.jpg

Vivid2 (VV2) Creative Look recipe by Jonpoon.jpg, Singapore, from Sony's Alpha Recipes collection.

Community & tweak proposals

Discuss and vote on the best colour recipe variants for Vivid2 · Jonpoon.jpg

Please in the navigation bar to write a comment.

No comments yet. Be the first to share your thoughts.

White balance

White Balance Shift

AWB, A1-G1

TemperatureAWBColourCamera decides the temperature per frame — consistent only if the light is

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/BA1ColourSlight amber warmth

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/MG1ColourSlight green 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 warm — a Golden Hour lean, with whites carrying a light cream cast. A light green lean sits over that, which suits foliage and open shade.

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

LookVV2ColourVivid base — saturation and contrast raised before any adjustment

Contrast+1ContrastContrast raised a little

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

Highlights+1ContrastBright areas lifted a little

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

Shadows+2ContrastDark areas opened up a little

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

Fade1ContrastNo 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 Range4DetailSharpening reaching into finer detail

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

Clarity8DetailStrong local contrast — textures stand out

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