![]() When you adjust the shooting exposure with set to and then switch to, a low-contrast image will be displayed with ITU709 contrast applied. is a gamma curve for easily previewing a level of gradation equivalent to that of an image recorded using or and graded to ITU709.Reproduces the / display on the monitor or viewfinder for (color mode)/ (gamma) and / images. An easy way to reproduce the effect of color grading on images, for display on the monitor or viewfinder.Īvailable in log shooting with Picture Profile. For display with normal contrast on the monitor or viewfinder, which is helpful in subject checking, focusing, and other precise camerawork, you can use the following functions.Īvailable in log shooting with the function. S-Log gamma images are harder to monitor at the time of shooting because they have lower contrast than usual. You can also try performing basic grading work using Catalyst Browse/Catalyst Prepare from Sony Creative Software at the following URL. To perform grading on images recorded using S-Log, dedicated grading software or video editing software with a grading function is required. On models without, choose from PP7, PP8, or PP9 in. These effects are finalized during the post-production process.īefore S-Log shooting, change the setting. You can create a variety of effects such as fresh morning scenes, scenes with tension, scenes that recall the past, and many more. Images recorded using S-Log and S-Gamut can be enhanced with detailed image effects during the post-production process. The S-Log gamma curve and the S-Gamut color reproduction are used for shooting such images. To make such effects possible, images must be shot with a wide dynamic range and wide color reproduction range. When using S-Log to shoot, performing grading in the post-production process will allow you to create image effects matching each scene with a great degree of flexibility. S-Gamut is color reproduction that is supposed to be used together with S-Log. Build your network and sharpen your craft in our community: The Backlotģ.S-Log is a gamma curve that is optimized under the assumption that grading will be performed in the post-production process. Make a feature film today: The No-Budget Feature Film BlueprintĢ. When you’re ready, here are 3 ways I can help you:ġ. The difference between my LUT and Sony’s isn’t drastic, but the change is significant enough to save at least one or two steps in the color process when locking in your primary grade.Īs is the case with any LUT, you will still want to fine tune your grade to get it looking perfect, but so far I have found that my new LUT helps me to reach the finish line that much faster.ĭownload the Slog3 LUT through my CINECOLOR platform here.Īnd don’t forget to check out the rest of my color grading LUTs, film grain, and post-production tools! I tend to find Sony’s mids/skintones have a tendency to look cool or at times even purple, so one of my primary goals with this LUT was to eliminate that issue.īelow are three screen shots showcasing the different SLog 3 looks: From there, I brought down the mids a touch, made a slight contrast adjustment, and warmed up the midtones slightly. The new LUT that I created was based off of a hybrid of Sony’s SLog 3 LUT and the Arri Alexa LUT, the former of which works surprisingly well with SLog 3 footage. The goal of course is to save myself a lot of time in the editing room/color suite, and get each shot that much closer to the final look right off the bat. Since I will inevitably be shooting more and more with the A7S II as the months go on, I decided to create a new LUT to use in place of Sony’s standard SLog 3 LUT. With the A7S II on the other hand, I’ve never had perfect results while using Sony’s SLog 3 LUT on any clip that I’ve shot to date. On my Blackmagic URSA for instance, if I have exposed my shot properly I am able to drop on a LUT in Resolve or FCP X and the image will look fantastic right away. That’s not to say you can’t achieve beautiful color results with Sony’s cameras, but rather that you need to work a little harder to get there. But even though they are ahead of the curve in so many ways, their color science is still far behind companies like Blackmagic Design or Canon. Sony is leading the way in mirrorless innovation at the moment, and I respect what they are doing tremendously. While I’ve really been enjoying the A7S II, my biggest issue with it so far has been the same as my issue with all of Sony’s other cameras – the color science. ![]() I’ve been shooting with my new Sony A7S II extensively over the last couple of weeks, and recently developed a LUT that I’ve been using with all of my SLog 3 footage.
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