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.
SLOG2 & SLOG3 to Natural Enhanced Rec709 LUT Pack Our Natural Enhanced LUTs are crafted to fix the issues with Sony skin-tones and hue levels caused by Sony's color. SONY FX9 Test Footage lut https://drive.google.com/drive/folders/14i6pUFwY3sADTtiWmk5rZSNq38wANrBp?usp=sharing. LUT's not loading is normally a problem with the folder structure on the card. The LUT's must go in this folder: private: SONY: PRO: CAMERA: PMWF55F5 They DO NOT go in the PXW-FS7 folder. If you copied the LUT's to the SD Card from a Mac computer there will be a junk file starting with an underscore ' ahead of the LUT name.
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.
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.
Using Picture Profile presets with S-Log
Using this method, you can place your conversion LUT as an input LUT (prior to any creative grading) for the Slog3 footage, then view all of your footage under the same output LUT which, in this case would be ARRI’s LogC to Rec709 (K1S1) or another LogC to Rec709 creative LUT. . slog2sgtorec709STARCentral.002 – GOLDEN TEXAS LUT Made by Dennis Hingsberg. March 2013. slog2 to slog3 – Converts slog2 to slog3 Made by Dennis Hingsberg. Sony Venice 3D LUT Sony’s Venice-like REC709 LUT for slog3/s-gamut3.cine footage. You can also purchase the Super Magenta Killer 3D LUT Pack by visiting this link!
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.
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.
- 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.
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.
Sony Luts For Premiere
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
Sony Slog3 To Rec 709 Lut Download
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.