In the third part of my S-Log series, I took the Sony F3 outside on a nice bright day to show what S-Log can do. Jeff Lee and I headed up to the roof of AbelCine and found some shade to stand in; this allowed us to show the most contrast possible. I shot the blog in S-Log, as well as in the standard video modes with the AbelRange profile that I created earlier this year. This way I could show just what S-Log enables in the camera. All the clips in the video, except the last one, were recorded to the Gemini 4:4:4 recorder, which records in uncompressed DPX stacks so nothing was lost along the way. The last shot was S-Log out to a PIX240 recorder in ProRes422 HQ, which was enabled with the new F3 1.31 firmware from Sony.

I graded all of the shots in DaVinci Resolve Lite. The difference between S-Log and my range profile can be slight at times, but pay close attention to highlight areas, especially the skin highlights. Thanks to Isaac Kiener from Sales for helping out. Stay tuned for the last part of the series on look up tables in the camera.

To learn more about the F3, S-Log and LUTs make sure to check out our F3 Training Class in NY and LA.

Some months ago, I posted Part 1 of my PMW-F3 S-Log video series, and now, after waiting for the new 1.2 firmware to be released, Part 2 is here. In this video, I explain the new Exposure Index mode in the F3 and what it does for the camera. Watch my video above to learn more, and look for future segments coming soon.

Sony’s RGB and S-Log upgrade option for the F3 is now shipping. At AbelCine, we’ve had the upgrade for some time; you may remember the video that we helped produce at NAB that showed off the camera’s S-Log capabilities. I get many questions about this new option and what exactly it changes in the camera, so I am putting together a three-part video series on the topic.

In the first part, I use our DSC Labs charts and Leader scope to show the dynamic range change when using S-Log and demonstrate what the different built-in Look Up Tables (LUTs) can do. Many people have also asked about shooting S-Log in 422 with an external recorder, so I talk about that as well.

In the next two parts of the video series, I will show S-Log in actual situations (outside, low light etc), and then show how to use Sony’s CVP File Editor to create some custom LUTs for the camera. Watch the video above, and stay tuned for the rest of the series. These topics and many others will also be covered in our Sony F3 class this month in NY, LA, and Chicago.

Our NAB booth included the PMW-F3 with the new S-Log firmware from Sony installed. I was very impressed with what the new mode added to the camera and was delighted to show it off to guests in our booth. Some of our friends at Next Level Pictures stopped by, and I gave them a short demo. They were so impressed with the effect that they asked to take the camera out for a quick test, which I agreed to. Twenty-four hours later they came back with a plan to take Vegas by storm, and the result was an amazing test of the F3 and S-Log. Cinematographers Khalid Mohtaseb, Jonathan Bregel, Timur Civan and Vincent Laforet joined forces with a fantastic production team lead by Brad Burke to shoot the piece.

For this shoot, the F3 was combined with the new Angenieux 45-120 lens, Cooke Panchro/i lenses, Zeiss Ultra and Master Primes, Miller Tripods, a Kessler Crane Slider, OConnor and Element Technica accessories and the CineDeck Extreme. Watch the video above to see the test results.

Go to Next Level Pictures to learn more about how the project came together, and all the folks that helped make it possible.

Note: The camera was set to output 1080p 23.98 RGB 4:4:4 video in S-Log to the CineDeck, and record to the SxS cards with the Rec709(800%) LUT applied.

Our eyes perceive brightness differently than an electronic sensor does. Video monitors are locked into a standard for color and contrast, but now Digital Cinema camera systems are being used to capture images that are used and displayed in media that can see well beyond those limitations. Brightness is captured on a Linear scale (LIN), and usually stored with video gamma (REC709) or with a more film-like Logarithmic encoding (LOG). What does this mean, how does one use it, and what capabilities does it represent?

In the first of a series of Technical Resource articles and CineTechnica posts, I present an introduction to the concept of LOG, its origins and capabilities. Click here for the article.

This has been out for a while, but it doesn’t seem to have been widely circulated. Sony has a white paper on S-Log which describes the intended use of S-Log gamma, from production to post. Of particular interest to compositors and colorists are the formulas for translating between S-Log and Linear Light.

Download the S-Log White Paper here.