S log gives you more latitude (14 stops, but not 20!) Of course, you can still underexpose a footage or overexpose it (and destroy it). On each press, you can see only the dark are, or only the over exposed and the third press bring you back to a regular LUT. On the FS7, you have this nice option: I suggest you to assign to one of the extra button: High / Low level. The only way will be to switch back and forth between a preview with and without LUT but it will also shows you this grey picture and it’s not helping so much. Let me explain as you see a LUT from a Slog footage, you don’t know if there are still details in the dark area of your picture, they just look black or white.
One great thing with Sony FS7, is to be able to still see the crushed dark or over exposure and see if it’s still recorded in the camera. I suggest a REC 709 LUT to get the zebra at 70% on your subject face. Now that a LUT is automatically apply to your viewfinder, you can expose and check your level as before without LUT. Sony put this option if you want to record without LUT with external recorder and with LUT inside the FS7 for proxy use, I guess. Don’t choose to apply a LUT on the internal recording, of course. If you are using an external monitor, you can either apply it to the SDI output too, and, depending on the monitor, get also access to the LUT inside the monitor menu. With Sony FS7, there are a very simple way to shoot S-log and expose it correctly.Īfter choosing your desired S log (2 or 3: I let other blog explaining you the differences), you can apply a LUT directly to you viewfinder video signal as simple as this! no need to wait to export it on your NLE for checking.
S LOG 3 LUT HOW TO
How to see what I’m doing if all is grey? As it record more information everywhere, it can also helps with the white balance adjustment. A LUT is simply a conversion (deleting finally what you don’t want to keep).Īs you can adjust the LUT in post, it’s easy to understand why you shoot LOG: getting the exposure mistake fixed. As there are many S/C/D logs1,2,3…, you need to select the one you choose during your shooting and apply a LUT to get it right later in post during your editing. You will have to make a correspondence between the footage you have and a mathematical calculation to get the right picture. The only way to see and use a S-log is to process it. To keep it simple, let says that your camera try to get any possible information at the same time with a screen not able to see it all not easy. Also, if your client is behind you back, he will quickly ask you what’s going on with your camera as all looks lavish. Doing focus pulling on a non graded EVF is quite difficult. At the end, all looks a bit the same grey (!) and in some way, very hard during your shooting to know what you are doing and if the exposure is right. So the dark areas change to dark grey areas, when your highlights are getting bright grey. Shooting “log” try to keep all in one and let you choose in post which part of the picture you would like to keep.
S LOG 3 LUT TV
You camera sensor can see at the same time in the dark and in the very bright area of your picture, but your TV have a limited range and simply can’t display it.
S LOG 3 LUT FULL
Again, a bit like watching a Full HD video on a lower resolution screen, the picture look great, but you can’t tell the difference cause your screen is not able to display all of it. This may change with HDR TV and preview screen, but for now let keep it with regular TV/computer screen audience. Screens on you TV or your computer actually did not follow the fast development your camera sensor you can record more information than your TV can display.
LOG stand for logarithmic as the shape of the mathematical calculation the camera need to do, have this S logarithmic shape. The principle is the same even if I will be talking here only about using it on a Sony FS7 camera. S-log stand for Sony Log, You have also C-Log for canon, D-Log for DJI camera and so on. There are less latitude than in raw, but way less space also, and it can be done without any external recorder. The main difference is that raw takes a lot of space in your memory card, where S log tried to keep all acceptable. It works a bit the same than shooting raw. With S-Log, it’s a bit the same You record more of the highlight and shadows and see is you may want to change the exposure later. Shooting large resolution as 4K let you have more room for re-framing or stabilizing your footage.
You are recording more information and will decide later if you want to use it or not. Shooting S-log is a bit like recording in 4K but watching it on your phone, compressed by Youtube. How to shoot S-Log in with the Sony FS7? (and why you should)
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