As someone who knows this information but has learnt this through a lot of trial and error and poor tutorial I wish I had this a couple of years ago. Top work as always and this is something I can share now when I get asked
You have just fixed for me a major issue I was having with SLOG3 color grading and exposure. After watching your Video, I purchased Cinematch .. and OMG .. it is PERFECT. I spent hours applying it over my previous conversion LUTs from Sony and other Companies, and this is SO good and much easier to get my footage looking the way I have always wanted. I can't thank you enough !!!
@@dunnadidit sorry one question on Cinematch. If you use an Atomos Ninja in your setup, what Gamma would I set as the output format inside Cinematch? I’ve got it working perfectly direct from camera but not sure what the Atomos settings would be, I’m assuming Prores HQ which is what I set on the Atomos for the Codec. No worries if you don’t have an Atomos and thanks again awesome video !! Changed everything for me honestly !!!
Prores hq should work just fine and dandy. The atomos “shouldn’t” be adjusting the picture at all, just collecting the data that the camera gives it. So technically, the cinematch plug-in should still work just like it would if you were recording internally.
I am Literally just now getting into photography and videography, so to just have this video come out before my first camera (a7iv) even before it ships is a blessing!
Great overview. Have you considered creating a series of videos on this topic, each a deeper dive into one particular area? Scopes, color grading, 3rd party LUTs.
I watched hours of videos to learn so much of this over the last week and a half. I wish I'd watched this first. You explained it with all the examples and "why"s and "because"s that all the other videos left me wondering. Such a perfect video
Man this is very well done. I’ve been feeling so overwhelmed lately man. Being a beginner and learning as much as I can I’ve been scared of slog. Not only did this video chill me out with the awesome music, but it was very informative my guy. Thank you so much!!!
SUPER helpful info - thank you! As a someone new to videography, Log is so confusing! Still don't quite understand how to color grade, but at least I understand how to shoot in Log now! :)
I just started shooting slog-3 now that I have an A7Cii. Wow I've been using zebras all wrong no wonder I've been having so much trouble. Thanks Dunna for the tips!
Shot my Videos before in LOG, but without realy understanding how to professional deal with it. I realy love your Videos, their are so easy to understand, funny and i like the look of your videos. Keep going :D
No I didn’t… mostly because I don’t really use that. I didn’t find it to be a great way for me. But if you follow those Sony guidelines i mentioned and then go a bit brighter you should be good!
Great video. I find that in playing around with curves and lines, the editing is much more intuitive and easier than messing with wheels and slider adjustments. Though I image those cannot be totally ignored. I assume I can edit this way and even forego LUT's entirely. Is that right?
I’m a stills photographer getting into video. I always use s log and zebras but I randomly choose which profile. I REALLY need to rewatch to understand how each profile needs a custom set gamma and zebra setting that’s…annoying 😫
Haha yeah it can be kind of annoying. It makes sense when you understand some of the technical details behind it but it doesn't stop it from being annoying.
Having just bought a DJI Mini 3 Pro drone, which will shoot in 10-bit Cinelike - is this DJI's own name or version of LOG footage? Also, do you happen to know if the new iPhone 14 Pro Max can shoot in any type of LOG format? This tutorial was excellent, as are all your others - thanks for all the hard work (and knowledge) that you put into them.
Cine like is not quite log. DJI does have a lot format (I believe it’s d-log) but cine like is more of just a “flatter” profile. That said, the process is the same essentially. As for the iPhone, you can shoot in log or flat profiles using the filmic pro app but not in the regular camera app as far as I’m aware.
I've been thinking about going back to s-log2 over hlg2 on my a7iii. I think Imma leave my fs5 on hlg2 because it doesn't handle s-log2 well, unless it's VERY well lit.
Hello i just bought my first DSLR Canon 250D. Which is a entry level camera. I know little bit about raw image but not much about log3/ s-log / c- log video. I found on RUclips that 250D can shoot log3 video if i import color profile from computer via canon app. So I did and my video is kind of flat as i have seen on tutorial. My question is , this flat video file.mp4 is the log video? Because for raw photo there is another format file like .cr3/dng.
Good video! Though I would add some info about stops and linear vs logarithmic/exponential scale, maybe also color checker/middle gray, waveform/false color.
Gamma display assist change the behaviour of zeebras and histogram (interestingly, not the exposure mettering) on my FX30. Then, how should I use those zebras, with the assist on or off. I would say off, since I assume those percentage are meant to be a reference for Slog3. Could be that I am doing something wrong or, that I am just completely wrong. Some light on this darkness that is casting on me since I bought my camera would be veeery appreciated. Thanks for the video!
hi Donna I got a question. For example when I am shooting in a dark scene and exposed my subject for the skin tones but also if I am gonna also take some shots in same dark scene just for some products and details around the scene .Should I set my exposure for those shots to the 18% gray ? or what ?
always shooting s-log with a7iii, very useful thankyou! but what profile you are suggesting shooting slow-mo in terms of best grading latitude in post?
Every picture profile has a different “base iso” slog3 usually has a base iso of 800 on the newer Sony cameras. So 800 acts like 100 would in standard profile.
I think standard video aka Rec709 doesnt take and stretch all the dynamic range Info. It just harshly cuts off the highlight info and throws it away, thats wgy it looks ugly and cheap compared to the preserved highlights we know from cinema movies.
As someone who already knows all this stuff... This is SO GOOD! Seems like so many people are explaining Log in a way that creates more confusion, then also telling them, "just add saturation and contrast." It's refreshing that you made such a clear and complete tutorial on Log!
I've watched countless hours of video to try to understand SLog3, and this is by far the best tutorial I've come across! You answered so many of the questions I had, and also questions I didn't know I should be asking. Thank you so much!
Very interesting, thanks! What settings, especially brightness settings (zebras etc) would you recommend to shoot concerts, where the light is super different from a second to another ?
When you deliberately over expose and introduce clipping so that you can properly expose your subject (e.g. your face in front of the window), how did you determine the exposure level for your face? You mentioned that knowing all of the tools and when to use them would help you in this situation, but which tool did you use? ETTR wouldn't work, Zebras wouldn't work (not the ones configured to S-Log3 anyway) and the Gamma Assist would just be eyeballing it, right? How would you accurately expose your face in S-Log 3 in that scenario?
This is a friggin GREAT question. 2 ways... 1. You can use the gamma assist or LUT feature depending on which camera you're using and dial things in to taste. This is the less technical way, but it's quick and easy and gets the job done. 2. You actually can use zebras to get the skin tones. Sony Cine suggests skin tones between 48-52% exposure which should give you skin tones of between 55-65% after a rec709 conversion. So in this situation, you could set a zebra range and set it to 50+/_ 2 and then expose for the skin tones. (This is all for S-LOG 3 based on this article - sonycine.com/articles/how-correctly-expose-s-log3---a7s-iii---fx3---fx6---fx9/ ) Hope that helps!
4:53 I use Sony a7 iii, I tried to use S-Log and after I colored the footage using Davinci Resolve, the final result was bad, the image quality was bad and a bit blurry compared to standard shoot. That's why I prefer standard shoot, I only use S-Log when I need to catch extreme contrast and when I use S-Log, I always in 4K shoot mode for 1080p HD final output. Does anybody know my problem?
This is quite possibly the most clearly informative and well organized explanation of the entire process, thank you. I have been confused for ages and never found true answers until now
I'm not sure if I'm missing something obvious, but when trying to select options like gamma assist and picture profiles, I get a message on my camera that states "This operation or setting not available as follows: Log Shooting > Cine EI". Can you provide some guidance?
Can you use gamma assist with the ettr method? or just one or the other for optimal results? Also, just want to make sure I am understanding. Once you have set your zebra settings, those essentially don't change, and then you can just adjust iso for each shot based on histogram?
This video was EXCELLENT, Dunna! So well put together, and simply explained. I feel like I’m 90% of the way there with S-LOG footage, but this just added that remaining 10% of missing knowledge! I hope this video gets the love it deserves! 👏
This log stuff is totally useless for live streaming, right? No saved footage, just need it to look good on the go. Got an fx30 just for streaming and I'm a complete beginner and this all seems super overwhelming.
do you recommend record vertical talking head and b-rolls in home office with profile picture s-log2? Or just intelligent auto mode? I want to gain effect of professional quality video with a little bit cinematic effect. I also use the lenses that been together with camera as a kit so it's 16-50. What settings then would you recommend if yes for this kind of videos? thanks in advance :)
What if I want to delver H264 8bit to a client but I shoot in H265 10bit? Is the image gona suffer much after rendering it from log to H264 8 bit? Does that even make any sense?
THIS is the video I needed haha. I really like how you explain WHAT IS S-LOG and not just how to edit it, as I am a total noob with colour grading. Super helpful thank you!
YOU SIR ...are a god damn life saver...LOL . I've just bought a very tidy , low hour FS5 , and want t to upgrade my skills from my HXR-NX3 .The gamma assist and Zebra (which I use on the NX3)will make it a lot easier to try S-log. Yes I've said what the F%$k is S-Log , and now I know thanks to your excellent "beginners guide" . As a old "sound guy" , it;s a bit like recording a band and then putting the music through a mixer to bring oout the best sound. Thanks again from Down Under. GRegg 🙂
Thanks for the video very well put together! Could you make a tutorial video using slog 3 on one of your hikes and showing how to use it run & gun style with conditions that are out of your control?
Okay, so you're already confusing codecs and encoding gamma (or data mapping if you will) at 2:24 You can record the entire dynamic range that your sensor can record on a JPEG, as long as your using the correct tone mapping method. RAW doesn't inherently register more dynamic range than another codec. It just does in a different way (different compression/gamma curve/and data storage using photosites intensity instead of RGB or YUV values/...) In the same energy, Slog2/3 (or any other log encoding curve) is not flat, but only appears flat on screen (as monitors are not calibrated to display this specific gamma curve) 5:40 - Slog2 and Slog3 records the same amount of dynamic range on Sony camera, they just do it with a different data mapping. Slog3 seems less contrasted because this log curve maps the same dynamic range on less data just to allow some room for an extra 1.5 stops of dynamic range (in Slog3 middle grey is recorded at a higher value while the clipping point at a lower value) Slog2 clips at ~106% IRE and Slog3 at ~94% IRE, giving both at little bit more than 6 stops over middle grey and (~10 stops under middle grey). We have to look at noise floor (the other end of dynamic range) to really see an improvement with less degradation of the shadows, as Slog3 use more data value to record the shadows information. So, on paper Slog3 can record more information in the highlight, but Sony decides to map its sensor data to clip at ~6 stops over middle grey and gain dynamic in the shadows Even the Sony Venice 2 can only records ~6 stops over middle grey, but its excellent noise floor and shadow details is what allow for a greater dynamic range. The reasons why we have Slog3 is : - To prepare for a new generation of sensor (with the +1.5 stop of wiggle rooms in the highlights if needed) - To ease up the post production workflow. Slog was designed as a better "digital encoding curve", while Slog3 is designed to feel more natural to grade and use (by being closer to the Cineon log curve). And as for why not to use Slog 2 on 8 bits, you're right about banding. In Slog2 you're recording the same amount of information as in Slog3, but with a better optimisation (less data used for the shadow side thus not using them to encode the noise floor of Sony mirrorless cameras, and you gain ~50 data values to record your image (thus giving almost 20% information to record the same amount of dynamic)
11 месяцев назад
I recently purchased a Sony A7 R 5 and set my profile slog3 s-cinetone. My problem is that I am using fcpx. Please help 😊
You can just use all the RBG histograms available in the colour correction section in Adobe so you avoid all the LUTs and plugins. This means you don't use your subjective bias on the grading and use the software to show you wants rights.
Gosh! I am on day 4 of scanning the internet to teach me how to use my cameras to film my in studio art practice...and wowsers my brain is getting a work out! This video is awesome! So thankyou very much for the detail you have included for someone like me that has absolutely no idea what I am doing. So much to learn and practice. Im going to go scan through your other content now and subscribe. Thanks again
Thanks, straightforward and to the point. A1 shooter, shooting 10bit 4.2.2 . Somehow settled on PP9 With slightly crushed blacks. Mostly shooting RE vids. Do you have another vid on Sony PP selection? Just subscribed.
This was very helpful I am new to Sony and recently started using the A7IV For work. I came from Nikon DSLR. Needless to say it’s been a big learning curve for me. I am now a hybrid shooter. And I’ve had a difficult time wrapping my head around S log in general. Thanks for making this video congrats on all of your channel success. Like many others you are an encouragement to a smaller channel like myself.
ive been photoshopping since 1994. what puzzles me is when you mention the bitrate @5:49. when i started out with a pentax DSLRs in the 00's, i think it had 12-bits dynamic range. so 10 bit sounds like a joke. also, the 4:x:y is misleading. at 4:4:4, you get 24-bits, or 8 bits per channel. its really LAB mode though, so the image is transformed to 1 lightness channel, and 2 colour channels. they figured they could cheat here though, and no one would ever notice. this goes back all they way to the 1980s actually. at 4:2:2, you get 25% colour channel detail. so the total bitrate is 12-bits, or 4 bits per channel. going down to 4:2:0, you get 12% detail, or a total bitrate of 10 bits, or 3,3 bits per channel. so its a hoax. and its even worse, jpg/mpg converts the whole image into 8x8 pixel block equations. the higher the compression value, the more advanced equations will be used. also, for high luminance detail it automagically uses more storage. for soft parts, its less. the problem is, at low compression quality, you get block artifacts. if your image is mostly smooth (like a sunset, but also skin), the effective resolution turns to 1/64, IF its 4:4:4. at the lower quality, the block effect is out of bounds. this wasnt rectified for a long time. newer compression algorithms do a better job, and most of the vids i see on youtube do use those nowadays. but it was a problem for a long time. and still, many big sites to this day use old jpg compression methods (and low resolutions), while video compression has gone miles beyond. anyway, the industry has done a great job of confusing people over picture quality. nowadays they think a normal png is "8 bit", the same as a low quality overcompressed jpg, which has next to no colour detail, and heavy block artifacts, basically making it below even 10 total bits of image detail, and a lot of blurriness, so the resolution is a lot less than they claim. and going up to a "whopping" 25% colour detail, they somehow think its "high dynamic range". filming video 2024 and not even having the ability to capture 100% colour detail, is a disaster.
Wow! I thought I knew more about S-log, but now I realize I didn't --- as I was so impressed how you explained it so simply! This helped me so much. And you're right, my mother wouldn't want me using words like the bleeps. 😁
I really love the way you explained this. I'm just getting into maybe doing a little more in-depth videography like this and I've been looking for something to explain shooting in s-log but ending up with an HDR-10 output. Is this something you've done? It'd be really awesome if you could cover this. I know I can shoot in hybrid log gamma picture profile that will give me hlg HDR direct out of the camera but I'd really like to retain the flexibility that s-log provides.
This is the best video I've seen on understanding log video. As a new aspiring videographer this was great. Thank you for the info!
So glad to hear that!
As someone who knows this information but has learnt this through a lot of trial and error and poor tutorial I wish I had this a couple of years ago. Top work as always and this is something I can share now when I get asked
Thanks dude! Glad to hear you think it’s well put together!
You have just fixed for me a major issue I was having with SLOG3 color grading and exposure. After watching your Video, I purchased Cinematch .. and OMG .. it is PERFECT. I spent hours applying it over my previous conversion LUTs from Sony and other Companies, and this is SO good and much easier to get my footage looking the way I have always wanted. I can't thank you enough !!!
NICE!!!
@@dunnadidit sorry one question on Cinematch. If you use an Atomos Ninja in your setup, what Gamma would I set as the output format inside Cinematch? I’ve got it working perfectly direct from camera but not sure what the Atomos settings would be, I’m assuming Prores HQ which is what I set on the Atomos for the Codec. No worries if you don’t have an Atomos and thanks again awesome video !! Changed everything for me honestly !!!
Prores hq should work just fine and dandy. The atomos “shouldn’t” be adjusting the picture at all, just collecting the data that the camera gives it. So technically, the cinematch plug-in should still work just like it would if you were recording internally.
@@dunnadidit thanks once again !! Appreciated !
I am Literally just now getting into photography and videography, so to just have this video come out before my first camera (a7iv) even before it ships is a blessing!
Ayyyyy! So exciting the a7iv is fantastic!
Great overview. Have you considered creating a series of videos on this topic, each a deeper dive into one particular area? Scopes, color grading, 3rd party LUTs.
Not yet! But I’ve got a list I’m working my way theough
So anyway: I think I’ll stay just a photographer for now.
😂😂😂. I'm on video number 5 now trying to understand S-Log
I watched hours of videos to learn so much of this over the last week and a half. I wish I'd watched this first. You explained it with all the examples and "why"s and "because"s that all the other videos left me wondering. Such a perfect video
Man this is very well done. I’ve been feeling so overwhelmed lately man. Being a beginner and learning as much as I can I’ve been scared of slog. Not only did this video chill me out with the awesome music, but it was very informative my guy. Thank you so much!!!
That gamma display trick is a lifesaver!! thank you!!
SUPER helpful info - thank you! As a someone new to videography, Log is so confusing! Still don't quite understand how to color grade, but at least I understand how to shoot in Log now! :)
I just started shooting slog-3 now that I have an A7Cii. Wow I've been using zebras all wrong no wonder I've been having so much trouble. Thanks Dunna for the tips!
Shot my Videos before in LOG, but without realy understanding how to professional deal with it. I realy love your Videos, their are so easy to understand, funny and i like the look of your videos. Keep going :D
Haven't finished the video and finally a proper explaining of the wtf is slog 😅😅😅
It amazes me, how you convey so much information in such a short time and in such a clear an entertaining way. This should be reference material :-)
Thanks!
Thank you so much for this information, you made it so easy for me to understand.
Fantastic video man👍. Now i will be shooting in s log3. Thank you
I just liked your starting. Great..can you please give a tricks about low light profile, which one is recommended
Thanks!! I still shoot slog3 in low light personally
thank you, once of the best video for slog
We're Just getting started with S-Log
Great info I had the first half but the rest was mostly new and very useful
Nice!!
SLOG-3 for the win! Thanks, Dunna ✌🏼
Good and explained in a detailed way....thanks
Really good video! You didn't talk about exposing for people's skin, which is the most filmed subject, how to set zebras for that.
No I didn’t… mostly because I don’t really use that. I didn’t find it to be a great way for me. But if you follow those Sony guidelines i mentioned and then go a bit brighter you should be good!
they only video that actually make you underestand log
Can you do a full color grade edit in Final Cut Pro please?
SOLID video and advice, thanks Dunna!
Great explanation! Loved it!
This was great! Thanks Dunna!
Thanks for watching!!
Best Video ever!❤
Thank you!
If we can't add more light otherwise, should we bumb the ISO in order for ETTR rule, and If so what's the limit?
Thank you! Finally I understood how to use this 😂
Great video. I find that in playing around with curves and lines, the editing is much more intuitive and easier than messing with wheels and slider adjustments. Though I image those cannot be totally ignored. I assume I can edit this way and even forego LUT's entirely. Is that right?
Heck yeah! They’re all just different tools to do the same job!
I’m a stills photographer getting into video. I always use s log and zebras but I randomly choose which profile. I REALLY need to rewatch to understand how each profile needs a custom set gamma and zebra setting that’s…annoying 😫
Haha yeah it can be kind of annoying. It makes sense when you understand some of the technical details behind it but it doesn't stop it from being annoying.
Having just bought a DJI Mini 3 Pro drone, which will shoot in 10-bit Cinelike - is this DJI's own name or version of LOG footage? Also, do you happen to know if the new iPhone 14 Pro Max can shoot in any type of LOG format? This tutorial was excellent, as are all your others - thanks for all the hard work (and knowledge) that you put into them.
Cine like is not quite log. DJI does have a lot format (I believe it’s d-log) but cine like is more of just a “flatter” profile. That said, the process is the same essentially. As for the iPhone, you can shoot in log or flat profiles using the filmic pro app but not in the regular camera app as far as I’m aware.
True! I have no idea of wtf is slog
I've been thinking about going back to s-log2 over hlg2 on my a7iii. I think Imma leave my fs5 on hlg2 because it doesn't handle s-log2 well, unless it's VERY well lit.
Hello i just bought my first DSLR Canon 250D. Which is a entry level camera. I know little bit about raw image but not much about log3/ s-log / c- log video.
I found on RUclips that 250D can shoot log3 video if i import color profile from computer via canon app.
So I did and my video is kind of flat as i have seen on tutorial.
My question is , this flat video file.mp4 is the log video? Because for raw photo there is another format file like .cr3/dng.
Great video !
thanks this was helpful!
Good video! Though I would add some info about stops and linear vs logarithmic/exponential scale, maybe also color checker/middle gray, waveform/false color.
Thanks, I rarely shoot video, so Slog isn't worth the efforts for myself - at least I know now. 😊
Gamma display assist change the behaviour of zeebras and histogram (interestingly, not the exposure mettering) on my FX30. Then, how should I use those zebras, with the assist on or off. I would say off, since I assume those percentage are meant to be a reference for Slog3. Could be that I am doing something wrong or, that I am just completely wrong. Some light on this darkness that is casting on me since I bought my camera would be veeery appreciated. Thanks for the video!
hi Donna I got a question. For example when I am shooting in a dark scene and exposed my subject for the skin tones but also if I am gonna also take some shots in same dark scene just for some products and details around the scene .Should I set my exposure for those shots to the 18% gray ? or what ?
THANKS
Thanks brother
danm that was hell lot of information
always shooting s-log with a7iii, very useful thankyou! but what profile you are suggesting shooting slow-mo in terms of best grading latitude in post?
Can shoot 4k with my sony a7s 2? Which one is best use sd memory card for it.
Thank you for the video
How come in slog3 my iso must be on auto? It wont let me set 250?
Every picture profile has a different “base iso” slog3 usually has a base iso of 800 on the newer Sony cameras. So 800 acts like 100 would in standard profile.
if you set the zebras this way and use it, you can't have 1.7 - 2.0 stop with exposure it's full zebra after
I think standard video aka Rec709 doesnt take and stretch all the dynamic range Info. It just harshly cuts off the highlight info and throws it away, thats wgy it looks ugly and cheap compared to the preserved highlights we know from cinema movies.
Dunna did it again! 👌
Thanks!
Mooooooh (for the algorithm) 😼
As someone who already knows all this stuff... This is SO GOOD! Seems like so many people are explaining Log in a way that creates more confusion, then also telling them, "just add saturation and contrast." It's refreshing that you made such a clear and complete tutorial on Log!
Thanks so much!!
for real.
Ok good job, I'm confused 😮
I thought I was the only 1 hearing that from other videos..
Finally a video with a simple explanation of LOG using graphs and charts instead of having to visualize the whole thing. Nice work!
Glad to hear it helped!
Simple? I’m dizzy
I've watched countless hours of video to try to understand SLog3, and this is by far the best tutorial I've come across! You answered so many of the questions I had, and also questions I didn't know I should be asking. Thank you so much!
Very interesting, thanks! What settings, especially brightness settings (zebras etc) would you recommend to shoot concerts, where the light is super different from a second to another ?
THANK YOU SO MUCH FOR THE EXPLANATION AND EXAMPLES. LEARNED A LOT.
As a completely begginer, this is best video i've seen about this topic
Thank you so much for saying that!
Yes bro, as a beginner, He explained a lot that nobody else.
When you deliberately over expose and introduce clipping so that you can properly expose your subject (e.g. your face in front of the window), how did you determine the exposure level for your face? You mentioned that knowing all of the tools and when to use them would help you in this situation, but which tool did you use? ETTR wouldn't work, Zebras wouldn't work (not the ones configured to S-Log3 anyway) and the Gamma Assist would just be eyeballing it, right?
How would you accurately expose your face in S-Log 3 in that scenario?
This is a friggin GREAT question.
2 ways...
1. You can use the gamma assist or LUT feature depending on which camera you're using and dial things in to taste. This is the less technical way, but it's quick and easy and gets the job done.
2. You actually can use zebras to get the skin tones. Sony Cine suggests skin tones between 48-52% exposure which should give you skin tones of between 55-65% after a rec709 conversion. So in this situation, you could set a zebra range and set it to 50+/_ 2 and then expose for the skin tones. (This is all for S-LOG 3 based on this article - sonycine.com/articles/how-correctly-expose-s-log3---a7s-iii---fx3---fx6---fx9/ )
Hope that helps!
4:53 I use Sony a7 iii, I tried to use S-Log and after I colored the footage using Davinci Resolve, the final result was bad, the image quality was bad and a bit blurry compared to standard shoot. That's why I prefer standard shoot, I only use S-Log when I need to catch extreme contrast and when I use S-Log, I always in 4K shoot mode for 1080p HD final output. Does anybody know my problem?
This is quite possibly the most clearly informative and well organized explanation of the entire process, thank you. I have been confused for ages and never found true answers until now
Thanks for letting me know!
I'm not sure if I'm missing something obvious, but when trying to select options like gamma assist and picture profiles, I get a message on my camera that states "This operation or setting not available as follows: Log Shooting > Cine EI". Can you provide some guidance?
Can you use gamma assist with the ettr method? or just one or the other for optimal results? Also, just want to make sure I am understanding. Once you have set your zebra settings, those essentially don't change, and then you can just adjust iso for each shot based on histogram?
This video was EXCELLENT, Dunna! So well put together, and simply explained. I feel like I’m 90% of the way there with S-LOG footage, but this just added that remaining 10% of missing knowledge! I hope this video gets the love it deserves! 👏
Thanks so much!!
this so hard I'm gonna skip recording with slog for now
SLOG is not as much fun to say as CLOG
@@JeffBourke that’s painful lol
This is what comments sections were created for
哥哥, 你的影片很好, 繼續努力！也請把鬍子刮一下, thanks~
This log stuff is totally useless for live streaming, right? No saved footage, just need it to look good on the go. Got an fx30 just for streaming and I'm a complete beginner and this all seems super overwhelming.
Correct!
do you recommend record vertical talking head and b-rolls in home office with profile picture s-log2? Or just intelligent auto mode? I want to gain effect of professional quality video with a little bit cinematic effect. I also use the lenses that been together with camera as a kit so it's 16-50. What settings then would you recommend if yes for this kind of videos? thanks in advance :)
I record nearly everything in LOG profiles. But just know that you'll need to grade it after.
What if I want to delver H264 8bit to a client but I shoot in H265 10bit? Is the image gona suffer much after rendering it from log to H264 8 bit? Does that even make any sense?
Great video Dunna
Just to clarify…. Sony A7c. 8 bit so just use slog2 no point on slog 3?
Thanks so much! Yeah, when I was shooting 8 bit footage I stuck with slog2. SLOG3 would just fall apart when I went to correct it.
Best summary of this topic on YT. Now I'm ready to buy the ZV E1
I wish I could pm you. Love your style and videos. Check spelling on aperture. I am kind of a weird editor so I see these things
Ah dang it, did I put aputure? The light brand “aputure” has ruined me for that.
Best video on youtube
THIS is the video I needed haha. I really like how you explain WHAT IS S-LOG and not just how to edit it, as I am a total noob with colour grading. Super helpful thank you!
Nice! This is exactly the response I was hoping for!
So incredibly helpful. Thank you so much!
YOU SIR ...are a god damn life saver...LOL . I've just bought a very tidy , low hour FS5 , and want t to upgrade my skills from my HXR-NX3 .The gamma assist and Zebra (which I use on the NX3)will make it a lot easier to try S-log. Yes I've said what the F%$k is S-Log , and now I know thanks to your excellent "beginners guide" .
As a old "sound guy" , it;s a bit like recording a band and then putting the music through a mixer to bring oout the best sound.
Thanks again from Down Under.
GRegg 🙂
Glad to hear it was helpful!!
And that kind of language made me subscribe to you.
F*!& yeah!!
Thanks for the video very well put together! Could you make a tutorial video using slog 3 on one of your hikes and showing how to use it run & gun style with conditions that are out of your control?
very clean video , we would love to see you color grading on premier pro ! xD
Haha that ship sailed a while ago but maybe I’ll do some PP specific vids at some point.
Hey thanks for this video! Do you recommend also using the Bokeh button for more blurry background or does that change the outcome of the video?
Super helpful, awesome stuff thanks!
Okay, so you're already confusing codecs and encoding gamma (or data mapping if you will) at 2:24
You can record the entire dynamic range that your sensor can record on a JPEG, as long as your using the correct tone mapping method. RAW doesn't inherently register more dynamic range than another codec. It just does in a different way (different compression/gamma curve/and data storage using photosites intensity instead of RGB or YUV values/...)
In the same energy, Slog2/3 (or any other log encoding curve) is not flat, but only appears flat on screen (as monitors are not calibrated to display this specific gamma curve)
5:40 -
Slog2 and Slog3 records the same amount of dynamic range on Sony camera, they just do it with a different data mapping.
Slog3 seems less contrasted because this log curve maps the same dynamic range on less data just to allow some room for an extra 1.5 stops of dynamic range (in Slog3 middle grey is recorded at a higher value while the clipping point at a lower value)
Slog2 clips at ~106% IRE and Slog3 at ~94% IRE, giving both at little bit more than 6 stops over middle grey and (~10 stops under middle grey).
We have to look at noise floor (the other end of dynamic range) to really see an improvement with less degradation of the shadows, as Slog3 use more data value to record the shadows information. So, on paper Slog3 can record more information in the highlight, but Sony decides to map its sensor data to clip at ~6 stops over middle grey and gain dynamic in the shadows
Even the Sony Venice 2 can only records ~6 stops over middle grey, but its excellent noise floor and shadow details is what allow for a greater dynamic range.
The reasons why we have Slog3 is :
- To prepare for a new generation of sensor (with the +1.5 stop of wiggle rooms in the highlights if needed)
- To ease up the post production workflow. Slog was designed as a better "digital encoding curve", while Slog3 is designed to feel more natural to grade and use (by being closer to the Cineon log curve).
And as for why not to use Slog 2 on 8 bits, you're right about banding. In Slog2 you're recording the same amount of information as in Slog3, but with a better optimisation (less data used for the shadow side thus not using them to encode the noise floor of Sony mirrorless cameras, and you gain ~50 data values to record your image (thus giving almost 20% information to record the same amount of dynamic)
I recently purchased a Sony A7 R 5 and set my profile slog3 s-cinetone. My problem is that I am using fcpx. Please help 😊
You can just use all the RBG histograms available in the colour correction section in Adobe so you avoid all the LUTs and plugins. This means you don't use your subjective bias on the grading and use the software to show you wants rights.
this was so helpful! thanks for the video! :)
You're really good at explaining how things works, you make your audience to really understand what are you talking about.👍
Thanks Igor!
Gosh! I am on day 4 of scanning the internet to teach me how to use my cameras to film my in studio art practice...and wowsers my brain is getting a work out! This video is awesome! So thankyou very much for the detail you have included for someone like me that has absolutely no idea what I am doing. So much to learn and practice. Im going to go scan through your other content now and subscribe. Thanks again
Can i edit,cut slog footage in folmora?and export high quality file for color grading.I want to know this process?
Thanks, straightforward and to the point. A1 shooter, shooting 10bit 4.2.2 . Somehow settled on PP9 With slightly crushed blacks. Mostly shooting RE vids. Do you have another vid on Sony PP selection? Just subscribed.
You have kids coloring your homepage. Mine has the same recommendations… Mr. Beast, Sniper Wolf…
This was very helpful I am new to Sony and recently started using the A7IV For work. I came from Nikon DSLR. Needless to say it’s been a big learning curve for me. I am now a hybrid shooter. And I’ve had a difficult time wrapping my head around S log in general. Thanks for making this video congrats on all of your channel success. Like many others you are an encouragement to a smaller channel like myself.
I am here for the first time! I've been using S-log for years and I know what it is, but I still love this movie. Good job!
Wow. Excellent video. I was trying to get my head around my new ZVF1 and SLog. Very clear, understandable, and informative.
Helped a Lots.. thanks 🙏
ive been photoshopping since 1994. what puzzles me is when you mention the bitrate @5:49. when i started out with a pentax DSLRs in the 00's, i think it had 12-bits dynamic range. so 10 bit sounds like a joke. also, the 4:x:y is misleading. at 4:4:4, you get 24-bits, or 8 bits per channel. its really LAB mode though, so the image is transformed to 1 lightness channel, and 2 colour channels. they figured they could cheat here though, and no one would ever notice. this goes back all they way to the 1980s actually.
at 4:2:2, you get 25% colour channel detail. so the total bitrate is 12-bits, or 4 bits per channel. going down to 4:2:0, you get 12% detail, or a total bitrate of 10 bits, or 3,3 bits per channel. so its a hoax. and its even worse, jpg/mpg converts the whole image into 8x8 pixel block equations. the higher the compression value, the more advanced equations will be used. also, for high luminance detail it automagically uses more storage. for soft parts, its less.
the problem is, at low compression quality, you get block artifacts. if your image is mostly smooth (like a sunset, but also skin), the effective resolution turns to 1/64, IF its 4:4:4. at the lower quality, the block effect is out of bounds. this wasnt rectified for a long time. newer compression algorithms do a better job, and most of the vids i see on youtube do use those nowadays. but it was a problem for a long time. and still, many big sites to this day use old jpg compression methods (and low resolutions), while video compression has gone miles beyond.
anyway, the industry has done a great job of confusing people over picture quality. nowadays they think a normal png is "8 bit", the same as a low quality overcompressed jpg, which has next to no colour detail, and heavy block artifacts, basically making it below even 10 total bits of image detail, and a lot of blurriness, so the resolution is a lot less than they claim. and going up to a "whopping" 25% colour detail, they somehow think its "high dynamic range". filming video 2024 and not even having the ability to capture 100% colour detail, is a disaster.
Wow! I thought I knew more about S-log, but now I realize I didn't --- as I was so impressed how you explained it so simply! This helped me so much. And you're right, my mother wouldn't want me using words like the bleeps. 😁
Glad to hear you found it helpful!
I really love the way you explained this. I'm just getting into maybe doing a little more in-depth videography like this and I've been looking for something to explain shooting in s-log but ending up with an HDR-10 output. Is this something you've done? It'd be really awesome if you could cover this. I know I can shoot in hybrid log gamma picture profile that will give me hlg HDR direct out of the camera but I'd really like to retain the flexibility that s-log provides.