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    S-Log for dummies?
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    Can someone explain, in simple terms... how S-log works? (shooting and post)

    I have read through various PDFs on the subject, but can't quite get my head around it.

    Thanks in advance, Jay.


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    Quote Originally Posted by stockfuel View Post
    Can someone explain, in simple terms... how S-log works? (shooting and post)

    I have read through various PDFs on the subject, but can't quite get my head around it.

    Thanks in advance, Jay.
    This is an introduction to the basic notion of s-log and gamma curves in general (though no info about the details of camera operation and post). Just in case.

    http://www.dvxuser.com/V6/showthread...ter-Chapman%29


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    The video in this thread talks about it but this iswhat I understand:

    Its Sony's version of shooting RAW !
    Basically the s-log files will be files that are untouched, not a baked in look. S-log looks very flat.
    There are no contrast, brightness,color etc values applied to the image that has been recorded . It's not compressed like xdcam, avchd or hdv for that matter. It' s as uncompressed as one get nowadays.The files are going to be huge !
    It will, from what I've read, retain a good amount of detail in the highlights and shadows
    This works great if you want to do colograding and VFX work.
    S-log wont be necassary for every production but seems like a good option for Big budget productions.
    Hope this helps !

    Add: Feel free to correct me where Ive said something incorrect ...just to get the ball rolling !
    Last edited by Everts; 01-25-2011 at 08:38 AM.


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    Thanks guys...

    I have used RED One, so I guess it will work in a similar way (nail your exposure, in camera... do the rest in post)? I really like working in RAW, so if it is similar, that would be great.

    I really love the look of the F3 and it hits my budget, as I take the step up from my tired HVX and DSLRs. It sounds like a system that I can get more involved with as I add to it and learn more with each project.


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    Quote Originally Posted by Everts View Post
    It's not compressed like xdcam, avchd or hdv for that matter. It' s as uncompressed as one get nowadays.The files are going to be huge !
    RAW, S-Log and compression are all different things. You can compress both S-Log and RAW data and almost all cameras do.

    S-Log is a gamma curve that stretches blacks and compresses highlights so that you can manipulate the image extensively in post. It can theoretically be recorded to any codec although it really needs a high end codec (10 bit and moderate compression) due to the heavy manipulation that HAS to be done in the grade. Native S-Log looks flat and horrible.


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    Senior Member Joe Walker's Avatar
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    Here's what I think would really help this out, because I'm still a tad bit hazy on this myself, it'd be sweet if they would publish a sort of white paper detailing a beginning to end scenario of how to get the s-log material into an editor like FCP. Like what kind of transcoding software/hardware is needed/supported, what kind of support is there/workflow for the material in Apple Color, or DaVinci Resolve, etc. I mean a thoroughly detailed from beginning to end kind of instruction manual. We all know WHAT S-log is, what I want is a white paper that tells HOW we get it into FCP and work with if from there.


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    My understanding is that Slog is an extreme gamma curve and nothing more. This is visual, and will not need anything special in post. Just like using a cine gamma, the curve is allowing a greater dynamic range to be captured. This is "burned in" the footage. Slog can then be graded to look like how you want.

    This is how it was explained to me at least.


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    Sony likes to call S-log "digital negative" because it captures the entire tonal range of the sensor. Confusing because Adobe's RAW standard DNG is also refereed to as a "digital negative". RAW itself is also bit of marketing speak, as some RAW (even on stills) also have NR applied and are compressed. A/D conversion is also done in different locations (on and off the sensor) in CCDs and CMOS so data 'off the sensor' can also be misleading.

    The meanings we associate with 'raw' are gastronomic; usually something more primal like meats. That there needs to be a process that happens before we reach our final product we can consume. I suppose we could apply those meat terms to images as well, 'rare', 'medium-rare", "well-done", etc to the amount of compression, grading, debayering, etc., but then again any amount of 'cooking' by definition is no longer 'raw' (even a rare steak isn't raw). Which is why its all a misnomer if you aren't referring to uncompressed images off the sensor, but there really is also no point in being pedantic with the semantics.

    Its a layer of marketing abstraction. What really matters is what you can do with the product as well as what you don't need to do. In the case of S-log it gives you a large latitude in grading but it won't give you options with demosaicing and you'll be working with 1080p rather than the effective resolution of the sensor (which is suppose to be ~3.4k). Sony's perspective is that they want to remove the unnecessary busy-work, your time is money, and that some things are better handled within the camera rather than off. You can argue both sides of this, and there are both up-sides and down-sides associated with each perspective.


    There are whitepapers on S-log for those interested:

    PDF:
    http://www.sony.co.uk/res/attachment...7476953066.pdf
    http://pro.sony.com/bbsccms/assets/f...log_manual.pdf


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    Senior Member Nate Weaver's Avatar
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    Yay for concise, egghead free explanations. Thanks Steve. It is my feeling as well that Sony is trying to find the sweet spot in time/expense/flexibility, and quietly say as much, rather than speak in hyperbole and extremes.


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    What non-linear editors can interpret the S-log files? I'm particularly interested in integration with Premiere and After Effects CS5, and FCP. I can't find much info around in regard to posting S-log.
    Peter Corbett
    php.com.au


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