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 tested various exposure levels and methods. Part 2 which explains how to use LUT’s to correct the footage in the edit suite or post production is here: http://www.xdcam-user.com/2014/10/using-s-log2-from-the-a7s-in-post-production/
If you find this useful please consider buying me a coffee or a beer. I’m not paid to write these articles.
One of the really nice features of the Sony A7s and Sony’s other Alpha cameras, including the A6300, A6500 etc is the ability to use different gamma curves and in particular the Sony S-Log2 gamma curve.
What are gamma curves?
All conventional cameras use gamma curves. The gamma curve is there to make the images captured easier to manage by making the file size smaller than it would be without a gamma curve. When TV was first developed the gamma curve in the camera made the signal small enough to be broadcast by a transmitter and then the gamma curve in the TV set (which is the inverse of the one in the camera) expanded the signal back to a normal viewing range. The current standard for broadcast TV is called “Recommendation BT-709”, often shortened to Rec-709. This gamma curve is based on standards developed over 60 years ago and camera technology has advanced a lot since then! Even so, almost every TV and monitor made today is made to the Rec-709 standard or something very similar. Many modern cameras can capture a brightness range, also known as dynamic range, that far exceed the Rec-709 standard.
The limitations of standard gammas.
As gamma effects the dark to light range of the image, it also effects the contrast of the image. Normal television gamma has a limited dynamic range (about 6 to 7 stops) and as a result also has a limited contrast range.
Normally the gamma curve used in the camera is designed to match the gamma curve used by the TV or monitor. This way the contrast range of the camera and the contrast range of the display will be matched. So the contrast on the TV screen will match the contrast of the scene being filmed and the picture will look “normal”. However the limited dynamic range may mean that very bright or very dark objects cannot be accurately reproduced as these may exceed the gammas dynamic range.
The over exposure typical of a restricted range gamma such as Rec-709 is commonly seen as bright clouds in the sky becoming white over exposed blobs or bright areas on faces becoming areas of flat white. Objects in shade or shadow areas of the scene are simply too dark to be seen. But between the overexposed areas and any under exposure the contrast looks natural and true to life.
Log gamma, such as Sony’s S-Log2, allows the camera to capture a much greater brightness range or dynamic range than is possible when shooting with conventional television gamma. Dynamic range is the range from light to dark that the camera can capture or the range that the monitor or TV can display within one image. It is the range from the deepest blacks to the brightest whites that can be captured or shown at the same time.
There are some things that need to be considered before you get too excited about the possibility of capturing this much greater dynamic range. The primary one being that if the camera is set to S-log2 and the TV or monitor is a normal Rec-709 TV (as most are) then there is no way the TV can correctly display the image being captured, the TV just doesn’t have the range to show everything that the camera with it’s high range log gamma can capture accurately.
Fixed Recording Range For Both Standard and Log Gamma.
The signal range and signal levels used to record a video signal are normally described in percent. Where black is 0% and the brightest thing that can be recorded is normally recorded at 100% to 109%. Most modern video cameras actually record the brightest objects at 109%. The important thing to remember though is that the recording range is fixed. Even when you change gamma curve the camera is still constrained by the zero to 109% recording range. The recording range does not change whether you are recording Rec-709 or S-log2. So log gamma’s like S-Log2 must squeeze a much bigger signal range into the same recording range as used by conventional Rec-709 recordings.
In order to record using S-log2 with the A7s you need to use a picture profile. The picture profiles give you several recording gamma options. For S-log2 you should use Picture Profile 7 which is already set up for S-log2 and S-Gamut by default (for information on gamuts see this article). In addition you should ALWAYS use the cameras native ISO which is 3200 ISO and it is normally preferable to use a preset white balance. Using any other ISO with S-log2 will not allow you to get the full benefit of the full 14 stops of dynamic range that S-log2 can deliver. In most of the Alpha cameras you now also have the ability to use a different version of S-log, – S-Log3 and this is found in picture profiles 8 and 9. You can use S-Log3 if you wish, but S-Log2 was designed from the outset by Sony to work with digital camera sensors. S-Log3 is based on an older curve designed for film transfers to a 10 bit recording. As a result when using a camera that only has 8 bit recording with a limited number of code values, S-Log2 tends to be more efficient and yield a better end result. This is what it was designed for.
Grey Cards and White Cards.
Before I go further let me introduce you to grey and white cards in case you have not come across them before. Don’t panic you don’t have to own one, although I would recommend getting a grey card such as the Lastolite EzyBalance if you don’t have one. But it is useful to understand what they are.
The 90% White Card.
The 90% white card is a card or chart that reflects 90% of the light falling on it. This will be a card that looks very similar in brightness to a piece of ordinary white paper, it should be pure white, some printer papers are bleached or coloured very slightly blue to make them appear “brilliant white” (as you will see later in many cases it is possible to use an ordinary piece of white paper in place of a 90% white card for exposure).
The Grey Card.
The 18% grey card, also often called “middle grey” card, is a card that reflects 18% of the light falling on it. Obviously it will appear much darker than the white card. Visually to us humans an 18% grey card appears to be half way between white and black, hence it’s other name, “middle grey”.
Middle grey is important because the average brightness level of most typical scenes tends to be around the middle grey brightness value. Another key thing about middle grey is that because it falls in the middle of our exposure range it makes it a very handy reference level when measuring exposure as it is less likely to be effected by highlight compression than a 90% white card.
Exposing White and Middle Grey.
Coming back to Rec-709 and conventional TV’s and monitors. If we want a piece of white paper to look bright and white on a TV we would record it and then show it at somewhere around 85% to 95% of the screens full brightness range. This doesn’t leave much room for things brighter than a white piece of paper! Things like clouds in the sky, a shiny car, a bright window or a direct light source such as a lamp or other light. In order to make it possible for S-log2 to record a much greater dynamic range the recording level for white and mid tones is shifted down. Instead of recording white at 85%-95%, when using S-log2 or S-Log3 it is recommended by Sony that white is recorded at around 60%. For S-Log2 Middle grey moves down too, instead of being recorded at 42%-43% (the normal level for Rec-709) it’s recorded at just 32% with S-Log2 (S-log3 uses 41%).
By recording everything white (ie a white piece of paper) and darker in a lower range, we free up lot of extra space above the white recording level, within the full recording range, to record all those bright highlights in any scene that would be impossible to record with conventional gammas where there is only 10% to 20% from white at 90% to the peak of the recording range at 100 to 109%.
As S-Log2 and S-Log3 normally shift a lot of the recording levels downwards, if we show a scene shot with S-Log2 or S-log3 that has been exposed correctly on a conventional TV or monitor it will look dark due to the lower recording levels. In addition it will look flat with very low contrast as we are now squeezing a much bigger dynamic range into the limited conventional Rec-709 display range of a normal TV or computer monitor.
This on screen reduction in contrast and the darker levels are actually perfectly normal when shooting using log gamma, this is how it is supposed to look on a normal monitor or TV. So don’t be alarmed if when shooting using S-Log your images look a little darker and flatter than perhaps you are used to when shooting with a standard gamma. You will adjust the S-Log footage in post production to restore the brightness and contrast later.
The post production adjustment of S-Log2 and S-log3 is very important and one of the keys to getting the very best finished images. The S-Log recording acts as a digital negative and by “processing” this digital negative in post production (normally referred to as “grading”) we manipulate the large 14 stop dynamic range of the captured image to fit within the limited display range of a Rec-709 TV in a pleasing manner. This may mean pulling up the mid range a bit, pulling down the highlights and bit and generally shifting the brightness and colour levels of different parts of the image around (see PART 2 for more post production information).
SLog-2 and 10 bit or 8 bit data.
Originally Slog-2 was designed for use on high end digital cinema cameras such as Sony’s F65 camera. These cameras have the ability to record using 10 bit data. A 10 bit recording can have up to around 1000 shades of grey from black to white. The A7s however uses 8 bit recording which only has a maximum of 235 shades from black to white. Normally 8 bit recording is perfectly OK as most transmission and display standards are also 8 bit. Shoot with an 8 bit camera and then display that image directly via an 8 bit system and nothing is lost. However when you start to grade and manipulate the image the difference between 8 bit and 10 bit becomes more significant. If you start to shift levels around, perhaps stretching out some parts of the image then the increased tonal resolution of a 10 bit recording helps maintain the very highest image quality. Photographers that have shot using both jpeg and raw will know how much more flexibility the 12 bit (or more) raw files have compared to the 8 bit jpeg’s. However they will also know that 8 bit jpeg’s can be also adjusted, provided you don’t need to make very large adjustments.
Contrary to popular belief heavy grading of 8 bit footage does not necessarily lead to banding in footage across smooth surfaces except in extreme cases. Banding is more commonly a result of compression artefacts such as macro blocking. This is especially common with very highly compressed codecs such as AVCHD. The 50Mbps XAVC-S codec used in the Sony Alpha cameras is a very good codec, far superior to AVCHD and as a result compression artefacts are significantly reduced, so banding will be less of an issue than with other lower quality codecs. If you’re going to shoot using S-Log2, some grading will be necessary and as we only have 8 bit recordings we must take care to expose our material in such a way as to minimise how far we will need to push and pull the material.
Getting Your Exposure Right.
When S-Log2 was developed the engineers at Sony produced tables that specified the correct exposure levels for s-Log2 which are:
As you can see the nominal “correct” exposure for S-Log2 is a lot lower than the levels used for display on a typical Rec-709 TV or monitor. This is why correctly exposed s-log2 looks dark on a conventional TV. The implication of this is that when you grade your footage in post production you will have to shift the S-log2 levels up quite a long way. This may not be ideal with an 8 bit codec, so I decided to carefully test this to determine the optimum exposure level for the A7s.
The panel of images below is from the A7s recording S-log2 and exposed at the Sony recommended “correct” 32% middle grey level. The correct exposure was determined using a grey card and an external waveform monitor connected to the cameras HDMI output. Then the S-log2 was corrected in post production to normal Rec-709 levels using a Look Up Table (LUT – more on LUT’s in part 2). You can also see the viewfinder display from the camera. If you click on the image below you can expand it to full size. Sorry about the shadow from the laundry line, I didn’t see this when I was shooting the test shots!
From this you can see just how dark and low contrast looking the original correctly exposed S-log2 is and how much more vibrant the corrected Rec-709 image is. I have also indicated where on the cameras histogram middle grey and white are. Note how much space there is to the right of white on the histogram. This is where the extra highlight or over exposure range of S-log2 can be recorded. When correctly exposed S-log2 has an exposure range of 6 stops above middle grey and 8 stops under.
Over Exposing or “Pushing” S-log2.
If we deliberately raise the exposure level above the Sony recommended levels (known as pushing the exposure), assuming you grade the image to the same final levels some interesting things happen.
For each stop we raise the exposure level you will have 1 stop (which is the same as 6db) less noise. So the final images will have half as much noise for each stop up you go. This is a result of exposing the image brighter and as a result not needing to raise the levels in post as far as you would if exposed at the normal level.
You will loose one stop of over exposure headroom, but gain one stop of under exposure headroom.
Bright highlights will be moved upwards into the most compressed part of the log gamma curve. This can result in a loss of texture in highlights.
Skin tones and mid tones move closer to normal Rec-709 levels, so less manipulation is need for this part of the image in post production.
This last point is important for the A7s with it’s 8 bit codec, so this is the area I looked at most closely. What happens to skin tones and textures when we raise the exposure?
Exposing at +1, +2 and +3 Stops.
Below are another 3 panels from the A7s, shot at +1 stop, +2 stops and +3 stops. Again you can click on the images if you wish to view them full size.
Looking at these results closely you can see that when you increase the exposure by 1 stop over the Sony specified correct level for S-log2 there is a very useful reduction in noise, not that the A7s is particularly noisy to start with, but you do get a noticeably cleaner image.
Below are 4 crops from the same images, after grading. I really recommend you view these images full size on a good quality monitor. Click on the image to view larger or full size.
The noise reduction at higher exposures compared to the base exposure is very clear to see if you look at the black edge of the colour checker chart (the coloured squares), although the difference between +2 and +3 stops is very small. You can also see further into the shadows in the +3 stop image compared to the base exposure. A more subtle but important effect is that as the exposure goes up the visible texture of the wooden clothes peg decreases. The grain can be clearly seen at the base level but by +3 stops it has vanished. This is caused by the highlights creeping into the more compressed part of the log gamma curve. The same thing is happening to the skin tones in the +3 stop image, there is some reduction of the most subtle textures.
From this we can see that for mid tones and skin tones you can afford to expose between 1 and 2 stops above the Sony recommended base level. More than 2 stops over and brighter skin tones and any other brighter textures start to be lost. The noise reduction gain by shooting between one and 2 stops over is certainly beneficial. The down side to this though is that we are reducing the over amount of exposure headroom.
Given everything I have seen with this 8 bit and almost every other 8 bit camera my recommendation is to shoot between the Sony recommended base S-log2 level and up to two stops over this level. I would try to avoid shooting more than 2 stops over as this is where you will start to see some loss of texture in brighter skin tones and brighter textures. Exactly where you set your exposure will depend on the highlights in the scene. If you are shooting a very bright scene you will possibly need to shoot at the Sony recommended level to get the very best over exposure headroom. If you are able to expose higher without significantly compromising any highlights then you should aim to be up to 2 stops over base. But whatever you do never expose darker than the Sony base level, this will normally look really nasty.
Determining The Correct Exposure.
The challenge of course is determining where your exposure actually is. Fortunately as we have seen, provided you in the right ball park, S-log2 is quite forgiving, so if you are a little bit over exposed it’s probably not going to hurt your images much. If you have a waveform monitor then you can use that to set your exposure according to the table below. If you don’t have proper white or grey cards you can use a piece of normal white paper. Although slightly less accurate this will get you very close to where you want to be. Do note that white paper tends to be a little brighter than a dedicated 90% reflectivity white card. If you don’t have any white paper then you can use skin tones, again a bit less accurate but you should end up in the right zone.
If you don’t have an external waveform monitor then you do still have some good options. Sadly although the camera does have zebras, these are not terribly useful for S-log2 as the lowest the zebras can go is 70%.
Light Meter: You could use a conventional photography light meter. If you do choose to use a light meter I would recommend checking the calibration of the light meter against the camera first.
Mark 1 Eyeball: You could simply eyeball the exposure looking at the viewfinder or rear screen but this is tricky when the image is very flat.
In Camera Metering: The cameras built in metering system, like the majority of DSLR’s is calibrated for middle grey. By default the camera uses multi-point metering to measure the average brightness of several points across the scene to determine the scenes average brightness and from there set the correct base S-log2 exposure.
When you are using S-Log2, auto exposure in most cases will be very close to the correct base exposure if you use the default Multi-Zone exposure metering. The camera will take an average exposure reading for the scene and automatically adjust the exposure to the Sony recommended 32% middle grey exposure level based on this average. In the P, A and S modes you can then use the exposure compensation dial to offset the exposure should you wish. My recommendation would be to add +1 or +2 stops via the dial. Then observe the histogram to ensure that you don’t have any significant over exposure. If you do then reduce the exposure compensation. Lots of peaks to the far right of the histogram is an indication of over exposure.
Manual Exposure And Internal Metering.
If you are exposing manually you will see a small M.M. indication at the bottom of the LCD display with a +/- number. In the eyepiece viewfinder this appears as a scale that runs from -5 to +5, in S-log2 only the -2 to +2 part of the scale is used. In both cases this is how far the camera thinks you are away from the optimum exposure. + meaning the camera is over exposed, – meaning under.
In the image above we can see the M.M. indication is +0.3, in the eyepiece you would see a small arrow one bar to the right of “0” , indicating the cameras multi zone metering thinks the shot is just a little over exposed, even though the shot has been carefully exposed using a grey card and external waveform monitor. This error is probably due to the large amount of white in the shot, white shirt, white card, test charts with a lot of brighter than grey shades. In practice an error of 0.3 of a stop is not going to cause any real issues, so even if this was exposed by setting the exposure so that you have “M.M. 0.0” the exposure would be accurate enough. But it shows that multi point exposure averaging is easily confused.
The scene above is a fairly normal scene, not excessively bright, not particularly dark. If shooting a snow scene for example the cameras multi point averaging would almost certainly result in an under exposed shot as the camera attempts to bring the bright snow in the scene down to the average middle grey level. If shooting a well lit face against a very dark background then the averaging might try to bring the background up and the shot may end up overexposed.
If you want really accurate exposure then you should put the cameras metering system into the spot metering mode where instead of taking an average of various points across the scene the camera will just measure the exposure at the very center of the image.
You can then use a grey card to very accurately set the exposure. Simply place the circular shaped symbol at the center of the viewfinder display over a grey card and set the exposure so that M.M is 0.0 for the correct S-Log2 base exposure. To expose 1 stop over with a grey card, set M.M. +1.0 and two stops over M.M. +2.0 (not flashing, flashing indicates more than +2 stops).
One small issue with this is that the camera will only display a M.M. range of -2.0 to +2.0 stops. Provided you don’t want to go more than 2 stops over base then you will be fine with a grey card.
Using White Instead of Grey:
If you don’t have a grey card then you can use a 90% reflectivity white target. As white is 2 stops brighter than middle grey when S-Log2 is correctly exposed the 90% white should indicate M.M +2.0.
Once you have established the correct exposure you can then open the iris by 1 or two stops to increase the exposure. Or halve the shutter speed to gain a one stop brighter exposure. Each time you halve the shutter speed your exposure becomes one stop brighter, so divide the shutter speed by 4 to gain a 2 stop increase in exposure. As always you should observe the histogram to check for any over exposure. White peaks at the far right of the histogram or disappearing completely off the right of the histogram is an indication of over-exposure. In this case reduce your exposure back down towards the base exposure level (M.M 0.0 with a a grey card).
I recommend using an exposure between the “correct” base S-Log2 exposure level of middle grey at 32% and two stops over this. I would not recommend going more than 2 stops over over base.
In the P, A and S auto exposure modes, when using the default multi-zone metering the camera will set the base S-log2 exposure based on the average scene brightness. For most typical scenes this average should be very close to middle grey. This exposure can then be increased (brightened) by up to 2 stops using the exposure compensation dial.
In manual exposure the “M.M.” number displayed at the bottom of the viewfinder display is how far you are from the correct base S-log2 exposure. M.M. +2.0 indicates +2 stops over base. If using multi zone metering (the cameras default) this exposure will be based on the scenes average brightness.
If you set the metering to “Spot” you can use a grey card centred in the image to determine the correct base exposure and up to 2 stops of over exposure via the M.M. indication when shooting manually.
In Part 2:
In part two I will take a look at grading the S-log2 from the A7s and how to get the very best from the S-log2 images by using Look Up Tables (LUT’s).
NORTHERN LIGHTS Tours and workshops.
Don’t forget I run storm chasing and Northern Lights expeditions every year. These are amazing expeditions by snowmobile up on to the Finnmarksvidda. We go ice fishing, dog sledding, exploring, cook a meal in a tent and enjoy traditional Norwegian saunas.