S log and different Codecs

N

Nigel A

Well-known member
As I keep learning about S log, and the RGB option for the F3, I was a little confused by a few posts I saw. You could record s log on the SxS cards, or off the 10 bit SDI on the camera, or dual link. I thought that meant you got the full DR of the chip. After talking to my Sony insiders they explained that when you record off the 10 bit or on the SxS cards you don't get that full range. You might get a bit at the top and bottom of the curve but not the full DR.

Wondering how much difference it will make between the s log in 4:4:4 to s log recording 10 bit 4:2:2 or even to the sxs cards
 
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I've watched it four times times and I don't see any blow-me-away differences, even against the 4:2:0 stuff. Which is really surprising to me.
 
It is probably not right to judge here over the internet. The obvious difference should come up on a theater screen or on a proper reference monitor. I'm not sure if s-log update is a must with this beautiful camera unless you're shooting for theatrical release..
 
The more I think about it, seeing as the S-Log update is transferrable, and presumably will be available as a rental, I'm less and less inclined to ought right purchase it... I just don't have enough clients who necessarily need it...
 
Some of the differences are definitely lost in the difference on the internet. I too have been very happy with the sxs cards internally, and the 10 bit 4:2:2 output. As well clients have been very happy. Shot a commercial with one of the Abel Cine looks, recording to Pro Res 422 HQ. It was graded on a Pablo and clients and agency were very happy. They were very happy before it was graded.

The potential to rent the upgrade is interesting, and as this camera has shown, its range of shoot possibilities and post workflows keeps expanding
 
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