Mastering S-Log3 on Sony Cameras: An In-Depth Guide to Exposure, Color Accuracy, and Workflow

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S-Log3: How to Get the Most Out of Your Sony Camera [00:00]

• Introduction to S-Log3 and its importance [00:00]
  • S-Log3 is crucial for achieving the best image quality on Sony cameras.
  • Log format compresses a wide dynamic range into a smaller container for video recording, allowing for extensive manipulation in post-production.
  • Log video appears flat and desaturated initially but can be graded to look vibrant.
  • This video updates a previous tutorial with new functions and features of Sony cameras, offering a more in-depth guide.

Why Use S-Log3? [00:15]

• Maximum Dynamic Range [00:41]

  • S-Log3 with S-Gamut3.Cine offers the most dynamic range when using the camera's native ISO.
  • Examples of native ISOs for various Sony cameras (FX3: 800/12800, ZV-E1: 640/12800, A7S III: 640/12800, A7IV/A7CII/FX2: 800/3200, FX30/ZV-E10II/a6700: 800/2500).
  • Using any other picture profile will shrink the dynamic range.

• RAW Video vs. S-Log3 Dynamic Range [01:10]

  • RAW video does not extend the dynamic range beyond S-Log3 (S-Gamut3.Cine).
  • RAW's advantage lies in the ability to change white balance in post-production and disable in-camera noise reduction.
  • Manual noise reduction in post (e.g., Neat Video) can yield slightly better results than aggressive in-camera noise reduction.

• Color Accuracy of S-Log3 [01:40]

  • S-Log3 is the most color-accurate picture profile, offering true-to-life colors, especially skin tones.
  • Comparisons with S-Cinetone, Picture Profile (PP) off, and HLG3 demonstrate S-Log3's superior color reproduction.
  • At higher ISO values, S-Log3 is cleaner than HLG or PP off, especially with correct exposure.

• Flexibility in Post-Production [02:30]

  • S-Log3 captures the widest dynamic range, allowing filmmakers to decide in post whether to prioritize highlights or shadows, or balance both.
  • Ten-bit S-Log3 footage provides significant color manipulation latitude without breaking.
  • The speaker advises against using S-Log3 with 8-bit cameras; S-Log2 is recommended for 8-bit systems.

• Bit Depth and Color Subsampling Impact on Dynamic Range [03:14]

  • Bit depth (8-bit vs. 10-bit) and color subsampling (4:4:4, 4:2:2, 4:2:0, 4:1:1) do not directly impact the dynamic range of the camera.
  • Dynamic range is an inherent characteristic of the sensor, independent of these recording formats.

Options to Shoot in LOG (Picture Profile vs. Cine EI vs. Flexible ISO) [03:30]

• Overview of Log Shooting Modes [03:30]

  • Modern Sony cinema cameras (e.g., FX30) offer three main ways to enable log shooting: Flexible ISO, Cine EI, and traditional Picture Profile (PP).
  • Flexible ISO and Cine EI are found under the "Log Shooting" setting.
  • Picture Profile involves selecting a PP preset (e.g., PP10) and then setting Gamma to S-Log3 and Color Mode to S-Gamut3.Cine.

• Comparison of Flexible ISO, Cine EI, and Picture Profile [03:54]

  • All three modes (Flexible ISO, Cine EI, PP10 with S-Log3/S-Gamut3.Cine) provide identical exposure, dynamic range, and overall image quality when details are set to the same level.
  • The only difference seen in comparisons is often due to default sharpening/detail settings in Picture Profile, which can be adjusted.

• Does Cine EI Improve Image Quality? [05:00]

  • Cine EI is not a "magic mode" that enhances image quality; it delivers results identical to Flexible ISO and properly configured Picture Profiles.
  • Cine EI fixes the ISO to specific native values (e.g., 800 and 2500 for FX30, 640 and 12800 for ZV-E1/A7S III).

Noise in Footage is NORMAL! [05:45]

• Understanding Noise in Log Footage [05:45]
  • Log footage naturally contains some noise, especially before grading.
  • Even graded log footage can exhibit noise, particularly in poorly lit environments or with high ISOs.
  • Noise is a normal part of cinematic images, similar to grain in film.

How to Expose S-Log3 CORRECTLY! [06:37]

• The "Expose to the Right" (ETTR) Principle [06:37]

  • S-Log3 footage should be exposed correctly, or even slightly "overexposed" (ETTR), to achieve cleaner images.
  • The goal is to make the image as bright as possible without clipping highlights.
  • Raising exposure in camera and then lowering it in post-production results in cleaner shadows and less visible noise.
  • Conversely, underexposing log footage and raising exposure in post will introduce more noise.

• Advantages of Flexible ISO for Exposure [07:50]

  • Cine EI restricts ISO to native values, limiting flexibility in challenging lighting.
  • Flexible ISO allows adjusting the ISO value beyond native settings, enabling higher exposure (ETTR) for cleaner shadows, especially in low light.
  • Raising ISO in Flexible ISO mode to properly expose (ETTR) can lead to significantly cleaner images than strictly adhering to native ISOs in Cine EI.

• The Easiest Way to Expose Correctly: Alister Chapman's LUT [08:45]

  • Use Alister Chapman's V-Look_V3_-2p00 LUT (available for free) for accurate exposure monitoring.
  • This LUT acts as a visual guide, making it easier to expose correctly by eye, essentially "tricking" your eyes to expose brighter (by +2 stops) while seeing a normally exposed image.

• Why You Don't Need to Use Gamma Display Assist [09:40]

  • Gamma Display Assist is misleading because it makes the image appear overly contrasty and saturated, leading to severe underexposure.
  • Underexposing with Gamma Display Assist results in blown-out highlights on the display, but in reality, there's a lot of headroom, and shadows will be noisy.
  • It's recommended to never use Gamma Display Assist and instead rely on the Alister Chapman LUT or other precise tools.

• Should You Bake-in the LUT? [10:20]

  • Sony cameras offer an "Embed LUT File" function, which bakes the LUT into the video file.
  • This is generally not recommended as it limits post-production flexibility. It's better to apply the LUT in post for maximum control.

• Biggest Mistake Beginners Make with S-Log3: Trusting the Exposure Meter [10:40]

  • A common misconception is to aim for +1.7 or +2.0 stops on the camera's exposure meter.
  • The exposure meter measures the entire frame and provides a relative number that can be highly inaccurate depending on the scene's brightness and subject matter.
  • Trusting the meter can lead to blown-out skin tones or severely underexposed shadows in varying lighting conditions.

• Why Zebra is the Best Tool for Exposing S-Log [11:30]

  • Zebras offer precise and reliable exposure information.
  • Set Zebras to 95 for highlights (e.g., sky) and expose until the zebra lines just start to appear, then dial back slightly to retain detail.
  • Set Zebras to 75 (or 70-75 for white skin tones) for the brightest part of skin, exposing until the zebras appear, then dial back slightly.

• Zebra and Non-Native ISO, Dynamic Range Shift [12:23]

  • When using non-native ISOs, especially lower ones, the camera's dynamic range can shift.
  • Lower non-native ISOs tend to favor shadows (more dynamic range in shadows), while higher non-native ISOs favor highlights (more dynamic range in highlights).
  • It is still preferable to expose to the right (ETTR) even with non-native ISOs to get cleaner images, rather than sticking to restrictive native ISOs if more light is needed.

• Why I Don't Use Histogram [13:38]

  • The in-camera histogram on Sony cameras is often too small and not responsive enough to provide precise exposure feedback.
  • It's difficult to make accurate exposure judgments solely based on the histogram, especially when looking for subtle clipping or shadow detail.

Should I Film in S-Log3 in Lowlight? [14:03]

• Dispelling the Low Light Myth [14:03]

  • Contrary to popular belief, S-Log3 can perform excellently in low light.
  • The key is to expose correctly (ETTR) and not be afraid to raise the ISO.
  • Higher ISOs with correct exposure in S-Log3 can produce cleaner results than lower ISOs in PP off due to effective noise management when exposing to the right.
  • The process involves raising ISO to brighten the image without clipping highlights, and then lowering exposure in post to clean up shadows.

• Practical Low Light Examples [14:34]

  • The video shows various low-light examples shot in S-Log3 with high ISOs (e.g., 100,000 ISO on FX3) demonstrating clean results when exposed correctly.
  • It emphasizes that even with high ISOs, if the exposure is bright enough, the image will have less noise than an underexposed shot at a lower ISO.

Should I Shoot in S-Log3 Straight Away? [15:15]

• The Importance of Testing [15:15]
  • It's crucial to practice and understand S-Log3 settings before using them in professional client shoots.
  • Conduct personal tests both indoors and outdoors, comparing correctly exposed footage with underexposed footage.
  • Learn to use zebras and the Alister Chapman LUT for accurate exposure and white balance.

How to Color Grade S-Log3? [15:43]

• Post-Production Workflow [15:43]
  • The video briefly mentions that understanding color grading is the final step in mastering S-Log3.
  • A separate, in-depth tutorial on S-Log3 color grading is recommended for detailed instructions.