Even though I have written about these many times before the message still just doesn’t seem to be getting through to people. Since the dawn of photography and video the only way to really change the signal to noise ratio and ultimately how noisy the pictures are is by changing how much light you put … Continue reading Noise, ISO, Gain, S-Log2 v S-Log3 and exposure.
This seems to be a source of frustration for many people shooting raw or using S-Log2 or S-Log3 on a Sony camera. When shooting log and raw you should also be using a matching S-Gamut colour gamut if you want to get the best from the camera and this ties you into one of 3 … Continue reading Why is the white balance limited to 3 presets when using S-Log2, S-Log3 or raw?
UPDATE: JUST TO BE CLEAR, THERE IS NOTHING WRONG WITH SONY’S 12 BIT LINEAR RAW. BUT YOU REALLY SHOULD BE AWARE OF IT’S LIMITATIONS COMPARED TO 16 BIT RAW OR POSSIBLY EVEN 10 BIT LOG. This came up in the comments today and it’s something that I get asked about quite a lot. Sony’s high … Continue reading The Pro’s and Con’s of 12 bit linear raw or recording raw to S-Log.
Sony have today released firmware version 4.0 for the PXW-FS5. This firmware adds the ability to directly output Hybrid Log Gamma via picture profile 10 for an instant HDR workflow. It also allows you to set the base ISO for S-log to 2000 ISO. You can download it from here: https://www.sony.co.uk/pro/support/software/SW_122115_PSG/40
This is a question that comes up a lot. Raw is the unprocessed (or minimally processed) data direct from the sensor. It is just the brightness value for each of the pixels, it is not a color image, but we know which color filter is above each pixel, so we are able to work out … Continue reading What’s the difference between raw and S-Log ProRes – Re: FS5 raw output.
I’ve written about this many times before, but still it comes up again and again. Which is better? Which should I use? I hear all kinds of crazy comments and a lot of incorrect information, so first of all lets dispel a few myths: S-Log2 captures more dynamic range than S-Log3, it goes to a … Continue reading The great S-Log2 or S-Log3 debate.
UPDATE: It appears that Adobe may have now addressed this. Luma and YC scopes now show the same levels, not different ones and the scaling of S-Log XAVC. signals now appears to be correct. This came up as the result of a discussion on the FS5 shooters group on Facebook. An FS5 user shooting … Continue reading Incorrect Lumetri Scope Scales and incorrect S-Log range scaling in Adobe Premiere.
This website has a great feature. If you look up in the top left corner of every page you will see a small magnifying glass symbol. If you click on that it will allow you to search the entire site for information… and there’s lots and lots of hint, tips and guides going back many … Continue reading Looking For LUT’s for the Sony S-Log2 and S-Log3 Cameras?
The new Sony A6300 is making quite a stir. This compact interchangeable lens camera has an amazing feature set that is very similar to the features found on it’s bigger brothers the A7sII and A7RII. As a video camera it’s also capable recording using the XAVC-S codec in both HD and UHD(4K). It can even … Continue reading Using S-Log2 and S-Log3 with the Sony A6300 (with LUT’s to download).
This is something that keeps coming up in my workshops. It’s very important if shooting with S-Log2 or S-Log3 not to under expose and in most cases it can be highly beneficial to over expose a bit. Especially if you are using a camera like the A7s or FS5 in 4K when you only have … Continue reading Why It’s Helpful To Over Expose S-Log, Especially If You Only Have 8 Bit Recording.