Using Picture Profile presets with S-Log

When shooting in S-Log, use Picture Profile presets PP7, PP8, or PP9.

The PP7 preset combines S-Gamut and S-Log2, while PP8 is S-Gamut3.cine/S-Log3 and PP9 is S-Gamut3/S-Log3. Here, select PP7 (S-Gamut/S-Log2) and leave the preset details as-is. A distinction of this Picture Profile, intended for subsequent color grading, is a gamma broad enough for movie production.

Click Update Lists. You can now select the LUTs from 3D LUT. In actual editing, you may need to adjust the contrast before applying a LUT. In this case, go ahead and adjust the contrast before applying the LUT. With the LUT applied and your clip shown in colors for a Rec. 709 screen, you can now color grade it as you imagined it. THIS LUT IS MADE FOR FOOTAGE SHOT IN S-LOG2. IT HELPS YOUR COLORS BE BEAUTIFUL. If you like this, you'll love Renegade 2, our S-LOG 2 LUT Pack that lets you add pro color grades to your footage with one click! BEAUTIFUL SONY FOOTAGE RENEGADE 2 IS A COLLECTION OF LUTS MADE FOR S-LOG 2 Add cinematic color grades to yo. Sony Look Profiles are designed to simplify the colour grading process. Supplied as 3D LUT (Lookup Table) files, our Look Profiles convert footage shot in S-Log to the REC.709 standard, making it easy to achieve dazzling images with S-Log, even for beginners. For more advanced users, Look Profiles provide a useful starting point to begin the.

Camera setting and types of Picture Profiles

MENU → (Camera Settings) → [Picture Profile] → desired setting.

PP1:

Example setting using [Movie] gamma

PP2:

Example setting using [Still] gamma

PP3:

Example setting of natural color tone using the [ITU709] gamma

PP4:

Example setting of a color tone faithful to the ITU709 standard

PP5:

Example setting using [Cine1] gamma

PP6:

Example setting using [Cine2] gamma

PP7:

Example setting using [S-Log2] gamma

PP8:

Example setting using the [S-Log3] gamma and the [S-Gamut3.Cine] under [Color Mode].

PP9:

Example setting using the [S-Log3] gamma and the [S-Gamut3] under [Color Mode].

PP10:

Example setting for recording HDR movies using [HLG2] gamma.

Sony Luts For Premiere

• Learn more

Why Log video looks faded and low-contrast

Often, gamuts used in professional video applications conform to ITU-R BT.709 (Rec. 709), established for HDTVs. This is illustrated below.

Sony Slog3 To Rec 709 Luton

Here, the curved color space represents the range of human vision. The gamut of Rec. 709 is much narrower. In contrast, it is easy to appreciate how much broader S-Gamuts used in S-Log recording are.

When viewed on a screen designed for Rec. 709, Log video lacks contrast because the screen cannot display the full gamut.

The ITU-R BT.2020 gamut outlined in green can be reproduced by 4K equipment. This shows how much broader your creative palette is in 4K than in HD.

Appearance of S-Log2 video on a Rec. 709 screen

Easily reproducing colors on Rec. 709 screens with 3D LUTs

Optimal display of Log video on Rec. 709 screens requires color grading, when you will use lookup tables (LUTs). This conversion prepares the material for display on Rec. 709 screens.

Unlike 1D LUTs, which mainly adjust luminance, 3D LUTs control hue, saturation, and brightness of each RGB color. LUTs simplify color grading, because without them, instant S-Log video display matching the gamut of Rec. 709 screens would be difficult as you adjust tone curves, hue, saturation, and other details two-dimensionally.

When ILCE-1/ILCE-7SM3 has recorded movies in the [S-Log3] gamma and S-Gamut3.Cine under Color Mode or S-Gamut3 under Color Mode, you can use this LUT.

Using Gamma Display Assist and external monitors

To make it easier to check S-Log video on a Rec. 709 screen as you shoot, use Gamma Display Assist to apply LUTs. The contrast of viewfinder and monitor display will look as if you were not shooting in S-Log. In this way, Gamma Display Assist enables precise camerawork, whether you are checking subjects or adjusting the focus.

You can also take advantage of LUT-compatible external monitors, which are now more common.

Comparison of using a LUT on an external monitor

This video introduces shooting in S-Log and shows how effective it can be.

When shooting in S-Log, you can choose S-Log2 or S-Log3. Colors are reproduced differently depending on your choice, so use the right option for your workflow.

In this video, you can see how S-Log2 colors differ from those of S-Log3.

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.

Sony Slog3 To Rec709 Lut

It’s important to note that S-Log3 has a peak recording level of 92IRE so never goes above this. Don’t be surprised to find that your overall levels are going to be much lower than you would normally use for conventional 709 shooting. In addition I can’t stress enough how important it is to learn how to use LUT’s (look up tables) in camera and in post production with this camera. It will make your life so much simpler and easier. LUT’s may sound complicated and difficult, but they are not. If you want to create your own LUT’s take a look at this guide here.

The FS7 is an incredibly powerful camera. But if you really want to get the most from the Cine-EI mode and S-Log then you need to adjust the way you shoot. You can’t just apply normal Rec-709 exposure levels to S-Log3, it’s not designed to work that way. However by using the 709(800) LUT on the viewfinder output you can expose based on the viewfinder image as you would normally, while the S-Log3 recordings will be at the correct levels. So do learn how to implement LUT’s correctly, it will make your life so much easier. Take a look at this video for an idea of how it works. The video features an F5 but the FS7 is the same.

While you’re at it you might also want to take a look at this article on the S-log3 gamma curve. Many people will look at the S-log and think that it looks noisy and be worried by this. You shouldn’t be. The shape of the log curve means that before grading and application of a LUT it can emphasise noise. However once you use a LUT to convert from S-log3 to 709 you will find that most of the noise will go away. Again, please use a LUT as simply trying to grade S-log3 in to 709 space is often not as effective as adding the right LUT. If you really know what you are doing, by using S-Curves and log grading tools it is possible to grade the native S-log3 in a 709 environment, but LUT’s do make it simpler. Another useful way to get from S-log3 to 709 is to use the new color chart tool in Resolve which recognises and corrects either a Macbeth chart or DSC One Shot chart to the correct levels automatically. When you set up this process in Resolve you will select the source gamma as S-Log3 so the correction compensates for the gamma curve as well as adding color correction. I’lll write this up in more depth in the next couple of weeks.

Slog2 To Rec709 Lut

So enjoy your FS7 if you have one. As soon as mine arrives I will write up the correct way (or at least the designed way) to use the Cine-EI mode, in the mean time the F5/F55 Cine-EI guide can be used, the process is exactly the same on the FS7.