![]() ![]() There's other whitepapers on s-log and its variations if you search for them, it's been around for quite a while in Sony's pro/cine cameras. After the conversion LUT is in place, you can then continue to apply more creative color grades to your footage. Below you’ll find a download link and a tutorial on how to apply the LUTs in Adobe Premiere Pro. but here's a brief whitepaper that also talks about Sony's s-log (and ACES) as used in Vegas Pro (explained in Sony's own way, of course). These free LUTs by Bounce Color will convert your milky log footage into a rec.709 color space. if anyone's interested there's whitepapers & forums online that explain what ACES is. Using Resolve's Slog2>rec.709 1D lut shows massive 8-bit stepping in the histogram once it stretches out the range, and the image looks rather noisy compared to say the normal rec.709 (PP3/PP4) profiles or Cine profiles.Įdit: I mentioned ACES earlier. ![]() What I'm starting to see is that for any (controlled?) lighting situation where there may not be extreme dynamic range you want to retain, it's probably better to stay well away from S-log2. S-Log allows you to retain all of this information. Cinematographers shooting in the current REC.709 standard have to choose whether to sacrifice detail in the highlights or the shadows. Interesting watching the histogram on the camera as it starts compressing the information from a standard tonescale into less and less bits as you roll through the PP's. S-Log is a log curve which has been specially optimised for digital motion picture cameras to maximise the performance of the image sensor. ![]() Ran some tests (A7R2) on colour/tonescale charts under locked off conditions and cycled through each of the PP's just to see what they were doing technically, both on-camera and in Resolve's scopes.
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