Arri have a little trick in their cameras when shooting log to ProRes that the Sony Log cameras don’t have. When you change the Exposure Index in an Arri camera they modify the position of the exposure mid point and the shape of the Log-C gamma curve. There is actually a different Log-C curve for … Continue reading Making Sony Log Cameras Behave Like Arri Cameras When Shooting Cine EI and S-Log3.
As noted in my previous post there can be some issues with the way ProRes is recorded on many external monitors as a legal range files rather than Data Range. Another side effect of this is that LUT’s designed for post production as well as most camera LUT’s don’t work correctly in the monitor. So … Continue reading S709 LUT (Venice Look) And 709(800) For LEGAL RANGE PRORES S-Log3 On Atomos and other Recorders.
I have written about this many times before, but I’ll try to be a bit more concise here. So – You have recorded S-Log2 or S-Log3 on your Sony camera and at the same time recorded on an external ProRes Recorder such as an Atomos, Blackmagic or other ProRes recorder. But the pictures look different … Continue reading Why Does S-Log Recorded Internally Look Different To S-Log Recorded On An External Recorder?
Having shot quite a bit of S-Log3 content on the new Sony PXW-FX9 I thought I would comment on my exposure preferences. When shooting with an FS5, FS7 or F5, which all use the same earlier generation 4K sensor I find that to get the best results I need to expose between 1 and 2 … Continue reading Shooting S-Log3 on the PXW-FX9 – Do I need to expose bright?
I’ve uploaded these LUT’s before, but they are tucked away under a slightly obscure heading, so here they are again! There are 4 different LUTs in this set. A basic 709 LUT which is really good for checking exposure etc. It won’t give the best image, but it’s really good for getting your exposure just … Continue reading Film Emulation LUT’s for S-Log3 and S-Log2.
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.