This is another one from Social Media and it the same question gets asked a lot. The short answer is………… NO. Even with Sony’s earlier S-Log3 cameras you didn’t need to ALWAYS over expose. When shooting a very bright well lit scene you could get great results without shooting extra bright. But the previous generations … Continue reading Do I Need To Always Overexpose S-Log3?
For some reason many people now believe that the only way you can shoot with S-Log3 is by “over exposing” and very often by as much as almost 2 stops (1.7 stops is often quoted). When Sony introduced the original A7S, the FS5, F5, F55 and FS7 shooting S-Log3 with these cameras was a little … Continue reading You Don’t Always Need To Over Expose S-Log3!
Many people wish to bake in the cameras Exposure Index settings when shooting using CineEI in order to avoid having to make an exposure correction in post production (given that the cameras are ISO invariant when shooting Log in reality it makes vey little difference whether you add gain in the camera or in post … Continue reading Using The S-Log3 LUT To Bake In The EI
I’ve added a new LUT for S-Log3 and SGamut3.cine to my free LUT collection. The new LUT is called Elixir and is the first LUT from a collection of 3 new LUTs with similar contrast and brightness but quite different colours that I will be releasing between now and the end of the year. Elixir … Continue reading New LUT for Sony cameras and S-Log3 – Elixir
A fundamental aspect of electronic cameras is that the bulk of the noise comes from the sensor. So the amount of noise in the final image is mostly a function of the amount of light you put on to the sensor v the noise the sensor produces (which is more or less constant). This is … Continue reading Low Light Shooting – S-Log3 or S-Cinetone?
This keeps cropping up more and more as users of Adobe Premiere Pro upgrade to the 2022 version. What people are finding is that when they place S-Log3 (or almost any other log format such as Panasonic V-Log or Canon C-Log) into a project, instead of looking flat and washed as it would have done … Continue reading Premiere Pro 2022 and Issues With S-Log3 – It’s Not A Bug, It’s A Feature!
I’ve covered this before, but as this came up again in an online discussion I thought I would write about it again. For decades when I was doing a lot of corporate video work we shot greenscreen and chroma key with analoge or 8 bit, limited dynamic range, standard definition cameras and generally got great … Continue reading Chroma Key and Greenscreen – Should I use S-Log3 or might Rec-709 be Better?
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?