I’ve written about this many times before, but still it comes up again and again. Which is better? Which should I use? I hear all kinds of crazy comments and a lot of incorrect information, so first of all lets dispel a few myths: S-Log2 captures more dynamic range than S-Log3, it goes to a … Continue reading The great S-Log2 or S-Log3 debate.
UPDATE: It appears that Adobe may have now addressed this. Luma and YC scopes now show the same levels, not different ones and the scaling of S-Log XAVC. signals now appears to be correct. This came up as the result of a discussion on the FS5 shooters group on Facebook. An FS5 user shooting … Continue reading Incorrect Lumetri Scope Scales and incorrect S-Log range scaling in Adobe Premiere.
This website has a great feature. If you look up in the top left corner of every page you will see a small magnifying glass symbol. If you click on that it will allow you to search the entire site for information… and there’s lots and lots of hint, tips and guides going back many … Continue reading Looking For LUT’s for the Sony S-Log2 and S-Log3 Cameras?
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.