The 2010 group. It was -36c when this picture was taken!


  1. I own an PMW F3 and have been cinisderong the sLOG upgrade and all the other expensive recorders and editing overhead required but have always wondered why it took sLOG to access the capabilities of the sensor. You have clearly explained that the range is at the expense of sensitivity/noise tradeoff (in this and other posts you have written). This makes me believe that with controlled lighting, there is no absolute benefit to sLOG except in special circumstances, and I thank you for making that clear. I really do not know how much added value there is from 4:4:4 over 4:2:2 in grading, etc. but for now I think that the benefits of this “magical sLOG” are beyond what I would find necessary. I am planning to get a field recorder (such as the Samurai) to improve over the internal SxS cards 4:2:0 and record in ProRes HQ and see where that takes me. Thank you very much for this very informative article.One question, do you believe using Cinegammas that it is better to underexpose rather than overexpose due to the low noise floor? So far I have usually ended up usually slightly overexposed and have to reduce about a stop in post which seems to work quite nicely for skin tones. I am using Cinegamma I for outdoors mostly.

    1. IF you have control over your lighting then you may not need S-Log. But introduce a practical into your scene and that may be different as one of the key benefits of S-Log is the way bright light sources behave close to over exposure. The very gentle roll off of highlights looks much more natural than with standard gammas or even cinegammas. You never want to over expose with any gamma. Ideally you want perfect exposure with the brightest parts of your seen never going into clipping. This isn’t always possible, if anything it is better to “expose to the left” or keep things very slightly under rather than over.

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