Sony STABILIZATION - Catalyst Browse VS Active Steady VS Standard - FX3, A7IV, FX30, A7sIII, ZV-E1

Summary

This video tackles the intricacies of Sony's stabilization technologies, including IBIS and Active Steady, and dispels myths surrounding their use. It critiques Catalyst Browse for its 8-bit limitation and recommends the paid Catalyst Prepare for 10-bit quality, but cautions about the need for higher shutter speeds. The video advises against using Dynamic Stabilization for professional work due to its limitations. It highlights the benefits of Active Steady for handheld and longer lens scenarios but warns against its use with gimbals and rapid panning. The speaker strongly endorses IBIS for all situations, including on gimbals and tripods, and emphasizes the importance of physical camera handling and post-stabilization for optimal results.

Takeaways

• 📚 Use the right stabilization mode for different scenarios to achieve the best handheld footage.
• 🔍 The Catalyst Browse is not a complete solution as it only exports in 8 BIT, not suitable for professional color grading.
• 🚫 Avoid using high shutter speeds with Catalyst Prepare as it can lead to unnatural motion blur.
• 📉 Gyro data stabilization can crop footage severely, so it's better to stabilize in-camera first.
• 🎥 Active Steady works well for certain movements but not recommended on a gimbal or for fast panning.
• 🔧 Dynamic Stabilisation is not recommended for professional use due to its unpredictability and excessive cropping.
• 🌟 Active Steady is excellent for longer lenses, especially over 70mm, for tracking subjects.
• 📸 Shooting with a lower shutter speed without stabilization can make footage appear shakier, so balance is key.
• 🔩 IBIS (In-Body Image Stabilization) is recommended for most situations, even on gimbals and tripods, for eliminating micro vibrations.
• ⚖️ When using manual or cine lenses, set the custom focal length correctly to avoid increased shake.
• 🏋️‍♂️ Making the camera heavier and balanced can significantly improve stability without relying solely on slow-motion or other stabilization techniques.
• ✂️ Even with stabilization, post-processing is still necessary to fine-tune and correct any remaining shake.

Q & A

What is the main topic of the video?

The main topic of the video is Sony's stabilization technology, including IBIS (In-Body Image Stabilization), Active Steady, and the use of Catalyst Browse & Gyro Data. The video also addresses the use of these technologies on gimbals and tripods.

What does the speaker claim about Catalyst Browse?

The speaker claims that Catalyst Browse, while appearing to be a promising tool for stabilization, has limitations. The free version only exports in 8 BIT instead of 10 BIT, which can lead to issues with color grading and quality when shooting in S-Log.

Why is the 8 BIT limitation a problem for color grading?

The 8 BIT limitation is a problem for color grading because it cannot handle the conversion from Log as well as 10 BIT, leading to severe banding and artifacts, especially when pushing the color grade further.

What is the difference between Catalyst Browse and Catalyst Prepare?

Catalyst Browse is a free version that can only export in 8 BIT, while Catalyst Prepare is a paid version that provides clean 10 BIT 422 footage, allowing for better color grading and post-production flexibility.

What does the speaker recommend for achieving natural motion blur?

The speaker recommends shooting at a 180-degree shutter angle at 24/25 FPS for natural motion blur. Using a higher shutter speed, as required by Catalyst Prepare for stabilization, can introduce blur that is not as desirable.

What is the issue with using Active Steady on a gimbal?

Using Active Steady on a gimbal can cause issues, particularly when panning sideways, as it battles against the gimbal and can result in warping at the edges of the footage.

What are the advantages of using IBIS (In-Body Image Stabilization)?

IBIS is advantageous because it helps to eliminate micro vibrations and provides a more stable in-camera footage. It also works well with both gimbals and tripods, improving the stability of the shots.

Why is it important to set the correct focal length when using manual or cine lenses with IBIS?

Setting the correct focal length is crucial because if the wrong focal length is selected, it can cause more shake instead of stabilizing the footage.

What physical techniques does the speaker suggest for stabilizing the camera?

The speaker suggests several physical techniques such as the ninja-walk, locking your arms, and moving with your body. However, the speaker's favorite technique is to make the camera heavier and ensure it is balanced.

Why does the speaker still stabilize footage in post-production even when using a gimbal?

The speaker stabilizes footage in post-production to remove any subtle shakes and sometimes to dramatically smooth out a shaky shot. This ensures that the final footage meets the desired quality and stability standards.

What advice does the speaker give for improving handheld footage stability?

The speaker advises to practice handling the camera, understand the right mode of stabilization for different scenarios, and to know how far one can push handheld footage in the field, which comes with experience.

Outlines

00:00

🎥 Myths and Techniques of Video Stabilisation

This paragraph discusses various video stabilisation techniques, addressing common misconceptions and offering insights into optimal usage scenarios. The speaker clarifies the difference between free and paid versions of Catalyst Browse, highlighting the limitations of 8-bit color depth in the free version which affects color grading capabilities. They also critique the need for increased shutter speed in Catalyst Prepare for better stabilisation results, which counters the natural motion blur preferred in cinematic footage. The paragraph further explores the use of gyro data and the drawbacks of severe cropping for smooth results. It concludes with a recommendation against Catalyst Browse for professional use unless specific conditions are met, and a brief mention of other stabilisation methods like IBIS and Active Steady.

05:01

🔧 In-Camera Stabilisation and Post-Production Techniques

The second paragraph delves into the technical aspects of in-camera stabilisation, specifically focusing on Sony's Steady-Shot (IBIS) and Active Steady. It dispels the myth that IBIS should be disabled when using a gimbal or tripod, asserting that it consistently improves footage quality. The speaker emphasizes the importance of correct focal length settings when using manual or cine lenses to avoid increased shake. They also discuss the benefits of shooting with a lower shutter speed for smoother in-camera footage and the role of physical camera handling techniques. The paragraph touches on the use of additional rigging to increase camera weight and balance for better stability. It concludes with the speaker's personal approach to post-production stabilisation, advocating for subtle adjustments to achieve a balance between acceptable shake and motion blur, and encourages practice for improved results.

Keywords

💡Sony Stabilisation

Sony Stabilisation refers to the technology used in Sony cameras to reduce or eliminate the appearance of camera shake in video footage. This is crucial for producing professional-looking videos, especially when shooting handheld. In the video, the speaker discusses different Sony stabilisation methods, such as IBIS and Active Steady, and their effectiveness in various scenarios.

💡IBIS (In-Body Image Stabilisation)

IBIS, or In-Body Image Stabilisation, is a feature in some Sony cameras that helps to reduce blur caused by camera shake by moving the sensor to counteract the motion. It's a key topic in the video, where the speaker explains that contrary to some myths, IBIS should not be disabled when using a gimbal or tripod, as it helps with micro vibrations and improves overall stability.

💡Active Steady

Active Steady is a term used in the video to describe a specific mode of camera stabilisation that works well in certain situations, such as when the camera is being pushed forward or moved backward. It's mentioned as an alternative to IBIS but with some limitations, particularly when used on a gimbal or during fast panning movements.

💡Catalyst Browse & Gyro Data

Catalyst Browse & Gyro Data are mentioned in the context of a software that uses gyroscopic data to stabilise video footage in post-production. The video discusses the limitations of the free version of Catalyst Browse, which only exports in 8 BIT rather than the higher quality 10 BIT, and how this affects the ability to perform color grading on the footage.

💡8 BIT vs 10 BIT

8 BIT and 10 BIT refer to the color depth of a video file, with 10 BIT offering a wider color range and better quality, especially important for color grading and shooting in Log. The video points out that Catalyst Browse exports in 8 BIT, which is a limitation for professionals who require the flexibility of 10 BIT for post-production work.

💡Shutter Speed

Shutter speed in video refers to the length of time the camera's sensor is exposed to light, which affects the motion blur in footage. The video discusses how increasing shutter speed can help with stabilisation but also removes the natural motion blur that contributes to a cinematic look. The speaker prefers a 180-degree shutter angle for a natural look, but for Catalyst Prepare, higher shutter speeds are needed.

💡Cropping

Cropping in video refers to the reduction of the field of view, often a side effect of digital stabilisation techniques. The video script mentions that using Gyro data for stabilisation can result in severe cropping, which the speaker prefers to avoid by shooting more stable footage in-camera.

💡Gimbal

A gimbal is a device used to hold a camera steady and to move it smoothly, often providing the kind of smooth, cinematic motion that is difficult to achieve handheld. The video discusses the compatibility of different stabilisation methods with gimbals, noting that Active Steady can conflict with gimbals during certain types of movements.

💡Tripod

A tripod is a three-legged stand used to stabilize a camera for stills or video. The video script addresses a common misconception about using IBIS with a tripod, stating that IBIS should not be disabled, as it helps with eliminating micro vibrations even when the camera is mounted on a tripod.

💡Dynamic Stabilisation

Dynamic Stabilisation is a feature introduced with the ZV-E1 camera, which is similar to using Catalyst Browse in-camera. The video script mentions that the speaker does not recommend using Dynamic Stabilisation for professional use due to its limitations, such as excessive cropping and lack of post-production tweaking.

💡S-Log

S-Log is a logarithmic encoding system used by Sony cameras to capture a wider dynamic range, which is essential for professional video work that involves color grading. The video script points out that shooting in S-Log and then using the 8 BIT Catalyst Browse is problematic due to the severe banding and artifacts that result from the conversion.

💡Color Grading

Color grading is the process of altering and enhancing the color of a video in post-production to achieve a specific look or mood. The video discusses how the 8 BIT limitation of Catalyst Browse affects color grading, as 10 BIT footage offers more flexibility and quality in this process.

💡S-Cinetone

S-Cinetone is a baked-in film profile that Sony offers for their cameras, which emulates the look of cinematic film. The video script mentions that even with S-Cinetone, the speaker prefers not to work with 8 BIT footage due to the limitations it presents in post-production.

💡Post-Production Stabilisation

Post-Production Stabilisation refers to the process of stabilising video footage after it has been shot, using software tools. The video script emphasizes the importance of still stabilising footage in post, even if it was shot on a gimbal, to ensure the best possible results.

Highlights

Sony Stabilisation techniques are discussed, including IBIS, Active Steady, and Catalyst Browse & Gyro Data.

The video aims to answer questions and dispel myths about stabilisation on Sony cameras.

The speaker shares personal experience and techniques for achieving handheld footage stability.

Catalyst Browse is critiqued for its 8 BIT limitation, affecting color grading capabilities.

A paid version, Catalyst Prepare, offers 10 BIT export but requires higher shutter speeds.

Higher shutter speeds can introduce blur, which is undesirable for realistic and cinematic footage.

Gyro data can result in severe cropping for smooth results, favoring in-camera stability.

Active Steady performs well in handheld scenarios and with longer lenses but not on gimbals.

Dynamic Stabilisation is not recommended for professional use due to its limitations.

IBIS is recommended over Active Steady and is effective even on gimbals and tripods.

Lower shutter speeds can help disguise shake in in-camera footage.

Proper physical handling and making the camera heavier can improve stability.

Shooting in slow motion can aid stability but should not be the primary reason for its use.

Post-production stabilisation is still practiced even on gimbal shots to refine the footage.

The importance of practice in achieving stable handheld footage is emphasized.

Transcripts

Let’s talk about Sony Stabilisation.

IBIS or Active Steady?

What about Catalyst Browse & Gyro Data?

IBIS on a gimbal or not?

What about tripods?

In this video I’m going answer all these questions as well as bust a few myths that’s

been floating around here on Youtube.

This video is not sponsored in any way, I just received so many questions and comments

about the topic that I’ve finally decided to share my understanding.

I believe my handheld footage speaks for itself and that’s because I’ve figured out which

mode to use in which scenario plus the physical technique that comes with it.

First on the list we’ve got stabilisation using gyro data something I’d like to call

The Catalyst Myth.

Since its release, Catalyst Browse has been portrayed as the magical fix for not needing

a gimbal and on the surface it does look promising!

Although some of the footage comes out pretty clean they all seem to leave out one very

important detail, a detail that to me is a deal breaker.

You see there’s a free version of Catalyst Browse and a paid version called Catalyst

Prepare and the biggest difference between the two is the fact that Catalyst Browse can

only export in 8 BIT and not 10 BIT.

I can understand why some creators don’t mention this because if you look at the file

info, it does display 10 bit but in reality it’s just the wrapper, the actual clip is

still very much 8 bit.

A quick test to confirm this is to export a clip from Catalyst Browse.

You don’t even have to stabilise it, just selecting same as source which one would assume

is going to be 10 Bit 422 right.

Wrong.

You can put the same colour grade over both clips and the one from Catalyst will quickly

fall apart with severe banding and artefacts.

That’s because of the conversion from Log, the 8bit file is just not able to handle it.

If you don’t see it straight away just push the grade a little more and it’s pretty

obvious.

This is a MASSIVE issue if you’re shooting in S-Log and want to do any form of colour

grading.

Even if you choose a baked-in profile like S-Cinetone, I just don’t like working with

8 BIT footage because you get so much more freedom out of 10 BIT to do stuff like masking

and qualifying.

On the flip side when you use the paid version of Catalyst Prepare, you’re getting clean

10 bit 422 footage as one would expect but my issue here is that in order to get amazing

results you need to crank up the shutter.

Stabilising footage at the normal 180 degree shutter can introduce serious blur in the

image and the only way around this is an increased shutter speed.

Personally this is also a deal breaker for me because I love the natural motion blur

that comes with 24/25 Fps at a 180 Degree Shutter Angle, the very thing that makes the

footage feel more realistic & cinematic.

In some action scenarios one might double the shutter for effect but even then, if you

want to get gimbal like results you might have to push the shutter even higher which

to me defeats the purpose.


Using Gyro data can also crop in severely if you want to achieve silky smooth results

so I always prefer to shoot more stable in-camera before going to post.

So who is Catalyst Browse for?

If you don’t care about shooting in Log, you don’t do major colour correction and

you don’t care about a fast shutter, you just want smoother footage by all means go

for it but I don’t recommend it for professional use.

The only time I will opt for Catalyst Prepare is if I’m shooting on the FX6 and I can’t

manage the stabilisation in post.

The funny thing is FX6 footage even without IBIS still has a way of coming out smoother

because of the extra weight even more prominent when you rig it up.

So with Catalyst out of the way, what about IBIS and Active Steady?

And what about the new Dynamic Stabilisation that was introduced with the ZV-E1?

Just to get Dynamic Stabe out of the way quickly, it’s something I simply won’t use and

I don’t recommend it for professional use.

Dynamic Stabe is the equivalent of using Catalyst Browse in camera but without the ability to

tweak the footage afterwards.

You’re getting 10 Bit for sure but it’s a gamble how the footage will look depending

on the scenario.

It crops in far too much for my liking and I just don’t believe it’s necessary which

brings me to Active Steady & IBIS.

Active Steady works incredibly well and I often use it but only in the following scenarios:

When you’re shooting handheld and you want to push the camera forward or move it backwards.

Even when walking Active Steady does a great job here but in general you’ll get better

results from 35mm and up and with your wide lenses you’re bound to get some warp in

the corners.

The major issue with active steady is when you use it on a gimbal and when you pan sideways.

Active Steady battles against a gimbal and you’ll probably see some sort of warping

in the edges if you do big movements.

It’s also a no-go when panning left or right like trying to track a subject coming past.

I first really noticed this when shooting skiing in the Swiss Alps.

If you pan just a little to fast the images jumps a bit and ruins the shot.

Active steady also shines when you put on longer lenses.

Anything over 70mm and it’s like magic especially when tracking a subject sideways.

The following shots are all on 200mm tracking sideways not to be confused with panning.

This specific shot was handheld from a cable car and the rest is all from a gimbal.

But wait, didn’t you just say not to use active steady when on a gimbal?

This is the only exception.

Longer focal lengths like 70mm and up work well here but only if you track a subject

and refrain from doing rapid pans left or right.

Before moving onto IBIS i feel like it’s important to explain this concept.

Just as a high shutter speed helps with stabilisation in POST, on the flip side a lower shutter

speed helps make your in-camera footage look more stable because the subtle motion blur

helps to disguise some of the shake.

Yup it’s basically like opposites.

Shooting at a high shutter speed without any form of stabilisation in post will amplify

the feeling of shakiness because the movements are naturally sharper.

When shooting at a 180 degree shutter, your in-camera footage looks smoother but the freedom

to stabilise in post is smaller.

I prefer to shoot in-camera as stable as possible so that a subtle post stabilisation will be

enough without taking the risk of serious crop and sacrificing motion blur.

Steady-Shot aka IBIS.

Still my go-to for almost everything.

There’s this myth that you should disable IBIS when you’re on a gimbal or on a tripod,

and it’s simply not true.

No matter how many tests I’ve done, IBIS wins every single time.

Some will argue that you should disable it when you’re on a tripod but it really doesn’t

affect your stable static shots in any way but still helps with any micro vibrations

that comes with handling the camera like in this case changing the aperture on 200mm you

can clearly see which one has IBIS enabled.

When using manual or cine lenses it’s super important to dial in the custom focal length

of each lens before shooting because if the wrong focal length is selected it can actually

cause more shake.

IBIS is the secret sauce to eliminating micro vibrations on anything and I never shoot without

it unless I go up to Active Steady.

The rest is only up to how you physically handle the camera.

There’s a ton of ways to stabilise the camera, the ninja-walk, locking your arms and moving

with your body but my favourite is still to make the camera heavier.

Although I really use the extra accessories on some of my rigs, I sometimes feel like

I just want to rig it up for the sake of making the camera heavier.

It’s one thing to make the camera heavy but more important is to make it balanced

which means it shouldn’t lean more towards any side when holding it by the top handle.

Getting stable footage is something that I’ve gotten better at over the years and the more

you practice the more you’ll improve.

Although shooting in slowmotion also helps with stability, this should never be the reason

why you shoot in slowmo.

Let me say that again.

If you’re only shooting slowmotion for stability sake you’re missing the point.

Frame rates can have such a massive impact on the pace & feeling of your film and changing

this just for the sake of stability defeats the purpose.

Last but not least, stabilising in post.

Yes, I still stabilise my footage in post, even my gimbal shots.

Sometimes it’s just to take out a subtle shake and sometimes it’s to dramatically

smooth out a shaky shot.

I’m not going to do a tutorial about this since I’m in resolve and some of you are

on Final Cut & Premiere but the concept will always be the same.

Make sure you choose the right mode of stabilisation, and if it’s too intense, dial it down a

bit to get balance between shake that’s acceptable and footage that doesn’t blur

because of a lower shutter speed.

This method works for about 99% of the shots I ever shoot and if there’s one that I can’t

use, I’m either gonna cut it or just use it anyway, but the fact is I know how far

I can push my handheld footage in the field and that comes with experience so my best

advice is to keep on practicing and before you know it, this is a topic you just won’t

think about anymore!

As always comments drop them below and I’ll do my best to answer, thanks so much for watching

and I’ll see you in the next one.