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It also has picture profiles so you can tailor the look of the pictures or to suit different shooting conditions.
The Cinegammas are very useful for challenging lighting conditions as they offer an improved highlight roll-off. Log gamma curves are very different to conventional gamma curves. Conventional gamma curves like rec or Cinegamma are designed to produce a pleasing on screen image without any post production work although the cinegammas do typically benefit with some tweaking in post. Then to help deal with bright highlights conventional gammas use some kind of highlight roll off or knee to increase the brightness range the camera can capture without effecting the mid range.
In addition it also means that if you are over exposed when you shoot, the picture will look bad and no amount of post production correction will ever make it look good. Log gamma curves such as S-Log2 and S-Log3 are very different. They extended the dynamic range that the camera can capture. The pictures will be made compatible with the TV or monitor via adjustments made during editing or in post production. So working with S-log2 and S-Log3 is a two step process — shooting and grading grading is the term used for adjusting the look of an image in post production.
Because log gamma no longer needs to have a contrast range that matches the display range, more dynamic range can be squeezed into a conventional recording codec. It also means that there is no longer a need to use any highlight roll off or knee, so there is a lot more picture information in the highlights and brighter parts of the image.
As a result exposing log gamma extra brightly is not normally a problem and in many cases brings lot of advantages. Log gamma curves do have a shadow roll off that mimics the real world shadow roll off. Under exposed log looks bad. It will lack color and it will be noisy and grainy. But trust me, shooting 1 to 2 stops brighter than the recommended levels given by Sony on the A and any other Sony Log camera will normally bring the best results.
The A etc also have S-Log3, but as these are 8 bit cameras even when using an external recorder I would still recommend that you use S-Log2.
Besides, viewing and monitoring S-Log3 is tough as the pictures look even flatter than S-Log3. My recommendation is to shoot at between 1 and 2 stops bright. For the LUT set I would appreciate a Cocktail, but am happy with whatever you feel is appropriate or affordable.
What are your thoughts on the A? The 6k over sampling just creates the most eye popping 4k I have ever seen. The amount of detail is pretty striking. You can always shoot 30P UHD which is like a 1. The Auto-focus is fun to work with… pretty much does what the a7s ii can do except in low light situations… … it does start to overheat in 24P S35 mode… but the camera was still shooting with no artifacts.
Very compact and ergonomic in my hands, yet feels healthy. Sure 10 bit would of been a plus to remap the values into, but again, you have to wield it into your comps! Fun and creative! Thanks so much for making these LUTs and giving the explanation re: log gamma vs Rec gammas.
Thanks so much. There is a lot of bad information shared here. Slog3 is made to avoid the issue of the slog2, it is the best log profile for this camera. For best results use it only in 4k. For easy exposure use the viewer assist function that show slog in rec Both S-log2 and S-log3 are log gamma curves. Above middle grey both perform in a broadly similar manner with no highlight roll off and more or less the same amount of data per stop.
S-Log3 however uses a much smaller range from 3. Also S-log3 allocates more data to the deep shadows which further restricts the amount of data available for the all important mid range.
The parts of the image where all the important stuff in most scenes resides. With a 10 bit camera this would not be a problem but with an 8 bit camera it becomes important as with S-Log2 you have around 25 code values per stop above middle grey but only 18 code values with S-Log3. In both cases below middle grey there are even fewer code values per stop for both.
Consider a face which will typically have around 2. Do you think it is better to have 45 code values or shades S-Log3 to describe the subtle textures that make a face look good or better to have 63 shades S-Log2.
Neither is ideal, but I know which is going to look better. Next consider noise and grain. With both of these curves and 8 bit recording the bottom 3 stops where all the noise and grain is most noticeable are recorded in 8 bit with less than 10 code values for all 3 stops.
So any noise and grain or anything in the deep shadows will look bad. If you expose 1 stop brighter you will DOUBLE the amount of code values used for the same things in the darker parts of the scene, so it will look considerably better. The only penalty for over exposing by 2 stops is the loss of 2 stops of over exposure headroom and again this applies equally to both curves. In addition the data is reduced by a factor of 2 per stop compared to a linear recording again this is the same for any log curve.
With a 14 stop range and no highlight roll-off the loss of 1 or 2 stops of headroom by deliberately over exposing is rarely an issue. In part because again we have no way to display a 14 stop image and even if we did it would be uncomfortable to view these super bright highlights.
It must also be remembered that unlike a traditional gamma curve there is no highlight roll off, so the top stop of a log recording has lots of perfectly useable picture information that can be pulled out of the data when grading. Normal gammas with knee etc do not, there is almost no data in the brightest stop which is why over exposed standard gammas look bad. Log is the opposite of standard gamma. Log gamma rolls off the shadows, not the highlights.
Standard gammas roll off the highlights through the use of a knee or similar. With standard gammas we know not to over expose because the highlight roll-off looks bad. With log gamma it is the opposite, we should never under expose because the shadow roll off will make it look bad. Because there is no highlight roll off, because the amount of data in the shadows doubles for the same scene information for every stop you expose brighter, because the signal to noise ratio improves by 6db for each stop brighter you expose, log will almost always look considerably better when exposed brighter by between 1 and 2 stops.
The view assist function is only of very limited use because it only works at the base exposure level. Any time you can open your iris or slow your shutter and let in more light and expose as bright as you can before clipping your highlights, the better you are.
Bringing waveforms DOWN in post can often hide noise. So if post grading is your goal, expose to the right no matter what gamma you are usung. I know this is an old post. Alister — your comments are spot on as usual — only thing is that Slog-3 in the case of the a is not that hard to see on the display — it has the display LUT for it in the menu — when turned on looks pretty much like other profiles as far as visually in the display.
Sorry just read yur comment above this one — I understand the view assist limitations — so no need to comment on my comment. I had never read anything more useful and clear of this comment about the slog profiles Alister.
Thank you very much! Specially for mid light and skin tones. S-Log needs to be graded to look right. S-log exposure on an 8 bit camera must be just right and as the picture you see in the viewfinder is not the finished image, judging exposure can be tricky. So Cine4 will actually give you better mid range than S-log, but may struggle with highlights in brighter scenes.
Yes, an ISO change is an electronic amplification and noise reduction processing change. Not an actual sensitivity change. Unless you can get a soldering iron and glue a different one in. This is actually very interesting. So both of you prefer to apply noise reduction in post using neat video for example?
I admit that I quite often use the autofocus function of the a as it works pretty well. What do you think? Well, you have to use ISO in camera to deliver your video to somebody in a normal manner. Your camera also has fine tuned image processing that is customized for each ISO setting.
These are conveniences that you get in camera when you ramp up the ISO. Only shutter speed and IRIS adds actual light. Shoot as low as possible…. Over expose a stop or two only by opening your IRIS more or use a longer shutter, get a faster lens if you need to. That might confuse some people too. However SLOG3 uses less range. I know that it was certainly intended for 10 bit encoding but even still, why leave so much unused headroom?
Was anything gained by that? S-Log3 is based on the Cineon log curve and can record up to 16 stops. At the moment the cameras can only do 14 stops, so the luma cuts off where the camera cuts off. If the camera could deliver more it would go all the way to IRE. S-Log2 was specifically matched to a 14 stop electronic camera, but colorists complained as it was unfamiliar.
So Sony went back to Cineon. In the past couple of weeks I experimented with the various picture profiles of the a Within these tests I also varied with the color profiles.
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