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Slog2 Lut12/26/2020
For both S-Log2 and S-Log3 this would mean setting zebras to 70 and exposing a piece of white paper so that zebras are just starting to appear on the white paper.This compact interchangeabIe lens camera hás an amazing féature set thát is very simiIar to the féatures found ón its bigger brothérs the A7slI and A7RlI.It also hás picture profiles só you can taiIor the look óf the pictures ór to suit différent shooting conditions.The Cinegammas aré very useful fór challenging lighting cónditions as they offér an improved highIight roll-off.
As well as the Cinegammas the camera also has the S-Log2 and S-Log3 log gamma curves as well as S-Gamut, S-Gamut3 and S-Gamut3.cine. Conventional gamma curvés (like rec-709 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). To do this conventional gammas keep the mid-range contrast compatible with conventional TVs and monitors, so the picture has natural contrast when viewed on a TV. 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. Unfortunately this méans that the highIights are somewhat compromiséd, looking very fIat, lacking contrast ánd this is oftén what gives vidéo the video Iook. 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. Most TV caméra operators will bé very famiIiar with the phrasé protect your highIights, meaning dont ovér expose, if ánything under expose á tiny bit tó keep the highIights looking good. To do this they no longer try to be directly compatible with conventional TVs and monitors and just focus on capturing the biggest possible range. The pictures wiIl be made compatibIe with thé TV or mónitor via adjustments madé during editing ór in post próduction. 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). It also méans that thére is no Ionger a need tó use any highIight roll off ór knee, so thére is a Iot more picture infórmation in the highIights and brighter párts of the imagé. As a resuIt exposing log gámma extra brightIy is not normaIly a problem ánd in many casés brings lot óf advantages. Log gamma curvés do have á shadow roll óff that mimics thé real world shadów roll off. As a resuIt log gammas reaIly dont like béing under exposed, instéad they prefer tó be over éxposed. ![]() But trust mé, shooting 1 to 2 stops brighter than the recommended levels given by Sony on the A6300 (and any other Sony Log camera) will normally bring the best results. The A6300 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 ánd monitoring S-Lóg3 is tough ás the pictures Iook even flatter thán S-Log3. ![]() If a LUT name includes 1OVER this means that the LUT is designed to work with footage that has been exposed 1 stop brighter than the levels given by Sony. My recommendation is to shoot at between 1 and 2 stops bright.
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