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.
More LUT’s for you to play with! These LUT’s are primarily designed for the PMW-F5 and PXW-FS7 but they should also work with the PMW-F55 and A7s. You need to shoot in SGamut/S-Log2. There are two types of LUT. The AC-Canon-Log versions will output Canon C-Log with Canon wide range colorspace while the AC-Canon-Look versions … Continue reading S-Log2 to Canon LUT’s for the FS7/F5/F55/A7s
Quite a lot of people like to use S-Log2 or S-Log3 in custom mode. I’m not a fan of this method myself, I prefer to use CineEI, but for some people using S-Log2 or S-Log3 in custom works for them. If you use S-Log2/3 in custom mode then you are working with 709 color space, … Continue reading LUT set for S-Log2 in Custom Mode for F5/F55/FS7
So with the FS7 now shipping and the first units landing in peoples hands I have put together a comprehensive guide to using S-Log3 and CineEI on the PXW-FS7. Please follow this link to read or download the guide to CineEI on the PXW-FS7. It’s important to note that S-Log3 has a peak recording level of … Continue reading How to use S-Log3 on the Sony PXW-FS7.
If you have followed my guide to shooting S-Log2 on the A7s then you may now be wondering how to use the footage in post production. This is not going to be a tutorial on editing or grading. Just an outline guide on how to work with S-log2, mainly with Adobe Premiere and DaVinci Resolve. … Continue reading Using S-log2 and S-Log3 from the A7S (or any Alpha camera) in post production.
This guide is for the A7S and A7SII. The A7SIII does not in my opinion need the same degree of over exposure as documented here. So please bear this in mind if using the A7SIII. This document has been prepared independently of Sony. It is based on my own findings having used the camera and … Continue reading Exposing and Using S-Log2 on the Sony A7s. Part One: Gamma and Exposure.
INTRODUCTION: This guide to Cine-EI is based on my own experience with the Sony PMW-F5 and F55. There are other methods of using LUT’s and CineEI. The method I describe below, to the best of my knowledge, follows standard industry practice for working with a camera that uses EI gain and LUT’s. If you find the … Continue reading Cine-EI Mode when recording S-Log2/3 and raw on the F5 and F55.
My video camera operators are unfamiliar with contrast ratios, mid grey and white cards. With older restricted dynamic range video cameras you simply looked in the viewfinder and if the picture looked right, then it was right. Simples. But now with extended range gammas, log curves and linear raw recording things are much more difficult … Continue reading S-Log and contrast ratios. Why is Grey 38 and white 68?
The big issue most people have when working with log and exposing mid grey at 38 is that when you look at it on a standard monitor without any lookup tables it looks underexposed. The assumption therefore is that it is underexposed or in some way too dark to ever look right, because that’s what … Continue reading S-Log, Latitude, Dynamic Range and EI S-log. Or how to modify your exposure range with EI S-Log
