ColorLab
SCL-CL-025CL: FL (Film)

Film · Sandeeshwara Perera

Film (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

  • HighlightMidShadow
  • RedSkinYellowLeafSkyPink

Derived from the settings, not a camera preview.

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White Balance Shift

GMBA
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.

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. The two dials are not equally fine across the range: 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 down at 2500K and the coarser one up at 9900K. On a low-Kelvin base it buys precision the Kelvin dial cannot give on its own.

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.

Sharpness4DetailModerate edge definition

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.

Clarity1DetailMild local contrast in the mid-tones

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

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