For some reason many people now believe that the only way you can shoot with S-Log3 is by “over exposing” and very often by as much as almost 2 stops (1.7 stops is often quoted).
When Sony introduced the original A7S, the FS5, F5, F55 and FS7 shooting S-Log3 with these cameras was a little tricky because the sensors were quite noisy when used at the relatively high base ISO’s of these cameras. When exposed according to Sony’s recommendation of 41% for middle grey and 61% for a white card the end result would be fairly noisy unless you added a good amount of post production noise reduction. As a result of this I typically recommended exposing these particular cameras between 1 and 2 stops brighter than the base level. If using the F5 or FS7 I would normally use 800EI which would lead to an exposure +1.3 stops brighter than base. This worked well with these cameras to help control the noise, but did mean a 1.3 stop loss of highlight range. In other examples I used to recommend exposing a white card at white at 70% which would equate to an exposure a touch over 1 stop brighter than the base level.
With the introduction of the original Venice camera and then the FX9 we got a new generation of much lower noise sensors with dual base ISO’s. It soon became clear to me that these new cameras didn’t normally need to be exposed more brightly than the Sony recommended levels when using their low base ISO’s and even at their high base ISO’s you can typically get perfectly acceptable results without shooting brighter, although sometimes a small amount of over exposure or a touch of noise reduction in pots might be beneficial. No longer needing to expose more brightly brought with it a useful increase in the usable highlight range, something the earlier cameras could struggle with.
Then the A7S3, FX6 and FX3 came along and again at the lower of their base ISO’s I don’t feel it is necessary to shoot extra bright. However at the 12,800 high base ISO there is a fair bit more noise. So I will typically shoot between 1 and 2 stops brighter at the high base ISO to help deal with the extra noise. On the FX6 and FX3 this normally means using between 6400 and 3200 EI depending on the scene being shot.
Even though I and many others no longer advocate the use of extra bright exposures at the lower base ISO’s with these newer cameras it really does surprise me how many people believe it is still necessary to shoot up to 2 stops over. It’s really important to understand that shooting S-Log3 up to 2 stops over isn’t normal. It was just a way to get around the noise in the previous cameras and in most cases it is not necessary with the newer cameras.
Not having to shoot brighter means that you can now use the Viewfinder Display Gamma Assist function in the A7S3, A1 or the FX9 (for those times you can’t use a LUT) to judge your exposure with confidence that if it looks right, it most likely will be right. It also means that there is no longer any need to worry about offset LUT’s or trying to correct exposure in post before applying a LUT.
Of course, you can still expose brighter if you wish. Exposing brighter may still be beneficial in scenes with very large shadow areas or if you will be doing a lot of effects work. Or perhaps simply want an ultra low noise end result. But you shouldn’t be terrified of image noise. A little bit of noise is after all perfectly normal.
And one last thing: I don’t like the use of the term “over exposing” to describe shooting a bit brighter to help eliminate noise. If you have deliberately chosen to use a low EI value to obtain a brighter exposure or have decided to expose 1 stop brighter because you feel this will get you the end result you desire this is not (in my opinion) “over exposure”. Over exposure generally means an exposure that is too bright, perhaps a mistake. But when you deliberately shoot a bit brighter because this gets you to where you want to be this isn’t a mistake and it isn’t excessive, it is in fact the correct exposure choice.
Tag Archives: S-log3
Using The S-Log3 LUT To Bake In The EI
Many people wish to bake in the cameras Exposure Index settings when shooting using CineEI in order to avoid having to make an exposure correction in post production (given that the cameras are ISO invariant when shooting Log in reality it makes vey little difference whether you add gain in the camera or in post production – gain is gain). On cameras such as the FS7, FX6 or FX9 one way to do this is by baking in the built in S-Log3 LUT. To avoid confusion – that is using the CineEI mode with the “S-Log3” LUT enabled and in the LUT settings “Internal recording” set to ON so that you are recording the “S-Log3” LUT.
While this will bake in the EI change, this technique comes with many issues. For a start, just as when you use S-Log3 in custom mode and alter the ISO, whenever you move away from the cameras base ISO you loose dynamic range. When you bake in a LUT and change the EI, you are in effect changing the ISO and there will be a corresponding loss of dynamic range. When you bake in a LUT this loss of dynamic range is exacerbated by a reduced or altered recording range.
At lower EI’s the available recording range shrinks as the LUT is made darker and at the same time upper recoding level of the LUT is reduced. At 200 EI the recording range only gets to around 78%. At the bottom end the shadows are crushed and shadow information lost by the range reduction. This then causes a post production issue because LUT’s designed for the normal S-Log3 input range of 0-94% will now be applied to recordings with a much reduced range and after application of a LUT in post the final output won’t get to 100% without further complex grading where the image will need to be stretched more than normal and this degrades quality.
At high EI’s the LUT becomes brighter but the clip point remains the same. So for each stop you go up, 1 stop of highlights just disappears beyond the LUT’s hard clip point and can’t be ever recorded. Again in post this can cause issues because when you apply a normal S-Log3 LUT the heavy clipping in the recording causes the highlights to look very heavily clipped (because they are). Again, for the best results you will need to grade your footage to allow for this.
So, in practice the idea of baking in the S-Log3 LUT to eliminate the need to do any post production corrections doesn’t work because the addition of the S-Log3 LUT introduces new limitations that will need to be corrected if you want good looking images. Plus adding the S-Log3 LUT in camera and then adding another LUT on top in post is never going to deliver the best results due to the way LUT’s divide the image into brightness zones.
And – if you are baking in the S-Log3 LUT, then really this is no longer EI as there is now no longer an offset between the exposure and the recording, you are simply recording at a higher/lower ISO.
Zebras and Log – Use a narrower window/range.
If you are using Zebras to measure the exposure of a log gamma curve you should consider using a narrower Zebra window.
Why?
From middle grey to white (50% to 90%) in the world of standard dynamic range Rec-709 each stop occupies approximately 16% of the recording range. Typically the default zebra window or zebra range used by most cameras is 10% (often +/- 5%). So, when Zebras are set to 70% they will appear at 65% and go away at 75%. For Rec-709 and most conventional SDR gammas this window or range is around 3/4 of a stop, so less than 1 full stop and generally reasonably accurate.
But if using most Cineon based log curves, such as Sony’s S-Log3, between middle grey and white (41% to 61%) each stop only occupies around 8% of the recording range, half the range used by Rec-709. As a result if you use a default 10% zebra window, zebras will appear over a 1.2 stop range, this is excessive and introduces a large margin of exposure error. Compared to Rec-709 the zebras will only be half as precise, especially if you are trying to measure the brightness of a grey card or white card.
I recommend reducing the width of the Zebra window to 6% when using Zebras to measure skin tones within the S-Log3 image (if measuring a Rec-709 LUT there is no need to change the window). This will then give a similar range and accuracy to a 10% window in 709. If you are using zebras to measure a white card or grey card then consider bringing the zebra window down to 2% to gain a more accurate reading of the white/grey card.
The zebra window or range can normally adjusted in the cameras menu under the zebra settings. On the Sony Alpha’s and and FX3/FX30 you can adjust the range of the C1 and C2 custom zebras.
New LUT -Incandescent- added to my LUT collection.
This is the 3rd and final LUT in the free three LUT set I promised by the end of 2022. Incandescent goes with my Elixir and Solitude LUT’s to complete the set of 3 film style LUTs. Elixir is the base LUT with a neutral film style look, the second LUT is called Solitude which provides a cooler, stark look. Incandescent provides a pleasing warm look, perhaps for feel good or romantic scenes. It might even be a good choice for a happy Christmas look or feel. To download this new LUT go to my LUT page where you will find a wide selection of free LUT’s.
This LUT set can be used with any Sony camera that shoots S-Log3 with SGamut3.cine. So they are perfect for the FX30, FX3, FX6, FX9, Venice as well as the A7S3 etc.
If you find my LUT’s useful please spread the word and link to my Free LUT page so that others can also benefit. More LUT’s will be coming next year.
Have a great Christmas everyone.
FX6 Guide To Cine EI Updated
I have updated my guide to the FX6’s CineEI mode to ensure it is up to date and compatible with any changes introduced in the Version 3 firmware update. The revised and updated guide includes new graphics that I hope will make the CineEI mode easier to understand for those completely new to shooting S-Log3 and the Sony FX6.
If you are struggling to get to grips with CineEI in the guide I take a step by step approach to using S-Log3 on it’s own without any LUT’s or EI offsets, then introducing the s709 LUT at the base EI and then show how you use different EI levels to offset you exposure. There are suggested exposure levels for both white and grey cards as well as skin tones.
New LUT for Sony cameras and S-Log3 – Elixir
I’ve added a new LUT for S-Log3 and SGamut3.cine to my free LUT collection. The new LUT is called Elixir and is the first LUT from a collection of 3 new LUTs with similar contrast and brightness but quite different colours that I will be releasing between now and the end of the year. Elixir is designed for short film projects and drama to provide rich colours with pleasing skin tones. Blues are shifted slightly teal, but there is no distracting colour cast, just pleasing colours with mid to high contrast. The LUT can be used with any Sony camera that has S-Log3 and SGamut3.cine, so that includes the whole of the Cinema Line including the FX6, FX3 and FX30 as well as cameras like the FS5 and FS7. For more information and to download this or any of my free LUTs please go to the LUT page: https://www.xdcam-user.com/picture-settings-and-luts/alisters-free-luts/
Low Light Shooting – S-Log3 or S-Cinetone?
A fundamental aspect of electronic cameras is that the bulk of the noise comes from the sensor. So the amount of noise in the final image is mostly a function of the amount of light you put on to the sensor v the noise the sensor produces (which is more or less constant). This is known as the signal to noise ratio, often abbreviated to SNR.
Whether you use S-Log3 or S-Cinetone, even though the base ISO number the camera displays changes the sensitivity of the camera is actually the same, after all we are not changing the sensor when we change modes. In fact if you set the camera to dB you will see that in custom mode the base for both S-Cinetone and S-log3 (and every other gamma curve) is always 0dB.
All we are changing when we switch between S-Cinetone and S-Log3 is the gamma curve – which is a form of gain curve. The base ISO number changes between S-Log3 and S-Cinetone because if you were using an external light meter this would be the number to put into the meter to get the “correct” exposure, but the actual sensitivity of the camera remains the same.
First let’s think about what is happening at the base ISO of each if we were to use an external light meter to set the exposure…..
If we shoot at S-Cinetone and use the 320 ISO value in the light meter the aperture will be a little over a stop more open than if you shoot with S-Log3 and use 800 ISO for the light meter. So when using S-Cinetone at the base ISO there is a little over twice as much light going on to the sensor compared to S-Log3 at the base ISO and as a result the S-Cinetone will be much less noisy than the S-Log3. Not because of a sensitivity or noise performance difference but simply because you are exposing the sensor more brightly.
And if we use the SAME ISO value for S-Cinetone and S-Log3?
So now think about what might happen if you were to put 400 ISO into your light meter and use the values for shutter and aperture the meter gives and shoot with either S-Cinetone or S-Log3 using the very same aperture and shutter settings so that the same amount of light is hitting the sensor for both. The result will be that the amount of noise in the resulting image will be broadly similar for both and the same would happen if you were to use, let’s say, 4000 ISO (assuming you switch to high base for both).
There will tend to be a bit more noise in the S-Log and CineEI at the default settings, because by default NR is turned off in CineEI. But with the same in camera NR settings, again both the S-Log3 and S-Cinetone will have very, very similar noise levels when the sensor receives the same amount of light.
What about when there isn’t enough light?
So – when you are struggling for light, both will perform similarly from a noise point of view. BUT where there may be a difference is that with S-Cinetone all your image processing is done before it is compressed by the codec and what you see in the viewfinder is what you get. With S-Log3 the “underexposed” image gets compressed and then you will need to process that in post and when you add your post corrections this will be to the recorded image + compression artefacts so there will always be a lot of uncertainty as to how the final image will come out.
Personally I tend to favour S-Cinetone for under exposed situations. Generally if it’s under exposed dynamic range isn’t going to be an issue. S-Cinetone also spreads what image information you do have over a greater range of code values than S-Log3 and this may also help a little. But there is no right or wrong way and any differences will be small.
CineEI is not the same as conventional shooting.
CineEI is different to conventional Shooting and you will need to think differently.
Shooting using CineEI is a very different process to conventional shooting. The first thing to understand about CineEI and Log is that the number one objective is to get the best possible image quality with the greatest possible dynamic range and this can only be achieved by recording at the cameras base sensitivity. If you add in camera gain you add noise and reduce the dynamic range that can be recorded, so ideally you always need to record at the cameras base sensitivity for the best possible captured image.
Sony call their system CineEI. On an Arri camera the only way to shoot log or raw is using Exposure Indexes and it’s the same with Red, Canon and almost every other digital cinema camera when shooting log. You always record at the cameras base sensitivity because this will deliver the greatest dynamic range.
Post Production.
A key part of any log workflow is the post production. Without a really good post production workflow you will never see the best possible results from shooting Log. An important part of the post production workflow will be correcting for any exposure offsets used when shooting. If something has been exposed very brightly, then in post you will bring that exposure down to a normal level. Bringing the levels down in post will decrease noise. The flip side to this is that if the exposure is very dark then you will need to raise the levels in post and this will make then more noisy
Exposure and Light Levels.
It is assumed that when using CineEI and shooting with log that you will control the light levels in your shots and use levels suitable for the recording ISO (base ISO) of the camera using combinations of aperture, ND and shutter speed, again it’s all about getting the best possible image quality. If lighting a scene you will light for the base ISO of the camera you are using.
Here’s the bit that’s different:
Changing the EI (Exposure Index) allows you to tailor where the middle of your exposure range is. It allows you to alter the balance between more highlight range with less shadows or less highlight range with more shadow information in the captured image. On a bright high contrast exterior you might want more highlight range, while for a dark moody night scene you might want more shadow range. Exposing brighter puts more light on to the sensor. More light on the sensor will extend the shadow range but decrease the highlight range. Exposing darker will decrease the shadow range but also allow brighter highlights to be captured without clipping.
IMPORTANT: EI is NOT the same as ISO.
ISO is a measure of a film stock or camera sensors SENSITIVITY to light. It is the measure of how strongly the cameras sensor responds to light.
Exposure Index is a camera setting that determines how bright the image will become for a given EXPOSURE. While it is related to sensitivity it is NOT the same thing and should always be kept distinct from sensitivity.
ISO= Sensitivity and a measure of the sensors response to light.
EI = Exposure Index – how bright the image seen in the viewfinder will be.
The important bit to understand is that EI is an exposure rating, not a sensitivity rating. The EI is the number you would put into a light meter for the optimum EXPOSURE for the type of scene you are shooting. The EI that you use depends on your desired shadow and highlight ranges as well as how much noise you feel is acceptable.
What Actually happens when I change the EI value on a Sony camera?
On a Sony camera the only things that change when you alter the EI value are the brightness of any Look Up Tables (LUTs) being used, the EI value indicated in the viewfinder and the EI value recorded in the metadata that is attached to your clip.
Importantly – To actually see a change in the viewfinder image or the image on an external monitor you must be viewing your images via a LUT as the EI changes the LUT brightness, changing the EI does not on it’s own change the way the S-Log3 is recorded or the sensitivity of the camera. If you are not viewing via a LUT you won’t see any changes when you change the EI values, so for CineEI to work, you must be monitoring via a LUT.
Raising and Lowering the EI value:
When you raise the EI value the LUT will become brighter. When you lower the EI value the LUT will become darker.
If we were to take a camera with a base ISO of 800 then a nominal “normal” exposure would result from using 800 EI. When the base ISO value and the EI value are matched, then we can expect to get a “normal” exposure.
Let’s now look at what happens when we use EI values higher or lower than the base ISO value.
(Note: One extra stop of exposure is the equivalent of doubling the ISO or EI. One less stop of exposure is the equivalent of halving the ISO or EI. So if double 800 EI so you get to 1600 EI this would be considered 1 stop higher. If you double 1600 EI so you are at 3200 EI this is one further stop higher. So 800 EI to 3200 EI is 2 stops higher)
If you were to use a higher EI, let’s say 3200 EI, two stops higher than the base 800 EI, then the LUT will become 2 stops brighter.
If you were using a light meter you would enter 3200 into the light meter.
When looking at this now 2 stops brighter viewfinder image you would be inclined to close the aperture by 2 stops (or add ND/shorter shutter) to bring the brightness of the viewfinder image back to normal. The light meter would also recommend an exposure that is 2 stops darker.
Because the recording sensitivity or base ISO remains the same no matter what the EI, the fact that you have reduced your exposure by 2 stops means that the sensor is now receiving 2 stops less light, however the recording sensitivity has not changed.
Shooting like this, using a higher EI than the base ISO will result in less light hitting the sensor which will result in images with less shadow range and more noise but at the same time a greater highlight range.
A very important thing to consider here is that this is not what you normally want when shooting darker scenes, you normally want less noise, more shadow range. So with CineEI, you would normally try to shoot a darker, moody scene with an EI lower than the base ISO.
This goes completely against most peoples conventional exposure thinking.
For a darker scene or a scene with large shadow areas you actually want to use a low EI value. So if the base ISO is 800 then you might want to consider using 400 EI. 400 EI will make the LUT 1 stop darker. Enter 400 EI into a light meter and compared to 800 the light meter will recommend an exposure that is 1 stop brighter. When seeing an image in the viewfinder that is 1 stop darker you will be inclined to open the aperture or reduce the ND to bring the brightness back to a normal level.
This now brighter exposure means you are putting more light on to the sensor, more light on the sensor means less noise in the final image and an increased shadow range. But, that comes at the loss of some of the highlight range.
Need to think differently.
The CineEI mode and log are not the same as conventional “what you see is what you get” shooting methods. CineEI requires a completely different approach if you really want to achieve the best possible results.
If you find the images are too dark when the EI value matches the recording base ISO, then you need to open the aperture, add light or use a faster lens. Raising the EI to compensate for a dark scene is likely to create more problems than it will fix. It might brighten the image in the viewfinder, making you think all is OK, but on your small viewfinder screen you won’t see the extra noise and grain that will be in the final images once you have raised your levels in post production. Using a higher EI and not paying attention could result in you stopping down a touch to protect some blown out highlight or to tweak the exposure when this is probably the last thing you actually want to do.
I’ve lost count of the number of times I have seen people cranking up the EI to a high value thinking this is how you should shoot a darker scene only to discover they can’t then make it look good in post production. The CineEI mode on these cameras is deliberately kept separate from the conventional “custom” or “SDR” mode to help people understand that this is something different. And it really does need to be treated differently and you really do need to re-learn how you think about exposure.
For dark scenes you almost never want to use an EI value higher than the base ISO value and often it is better it use a lower EI value as this will help ensure you expose any shadow areas sufficiently brightly.
The CineEI mode in some regards emulates how you would shoot with a film camera. You have a single film stock with a fixed sensitivity (the base ISO). Then you have the option to expose that stock brighter (using a lower EI) for less grain, more shadow detail, less highlight range or expose darker (using a higher EI) more grain, less shadow detail, more highlight range. Just as you would do with a film camera.
Sony’s CineEI mode is not significantly different from the way you shoot log or raw with an Arri camera. Nor is it significantly different to how you shoot raw on a Red camera – the camera shoots at a fixed sensitivity and any changes to the ISO value you make in camera are only actually changing the monitoring brightness and the clips metadata.
Exposing more brightly on purpose to achieve a better end result is not “over exposure”. It is simply brighter exposure. Over exposure is generally considered to be a mistake or undesirable, but exposing more brightly on purpose is not a mistake.
Premiere Pro 2022 and Issues With S-Log3 – It’s Not A Bug, It’s A Feature!
This keeps cropping up more and more as users of Adobe Premiere Pro upgrade to the 2022 version.
What people are finding is that when they place S-Log3 (or almost any other log format such as Panasonic V-Log or Canon C-Log) into a project, instead of looking flat and washed as it would have done in previus versions of Premiere, the log footage looks more like Rec-709 with normal looking contrast and normal looking color. Then when they apply their favorite LUT to the S-Log3 it looks completely wrong, or at least very different to the way it looked in previous versions.
So, what’s going on?
This isn’t a bug, this is a deliberate change. Rec-709 is no longer the only colourspace that people need to work in and more and more new computers and monitors support other colourspaces such as P3 or Rec2020. The Macbook Pro I am writing this on has a wonderful HDR screen that supports Rec2020 or DCI P3 and it looks wonderful when working with HDR content!
What people are finding is that when they place S-Log3 (or almost any other log format such as Panasonic V-Log or Canon C-Log) into a project, instead of looking flat and washed as it would have done in previus versions of Premiere, the log footage looks more like Rec-709 with normal looking contrast and normal looking color. Then when they apply their favorite LUT to the S-Log3 it looks completely wrong, or at least very different to the way it looked in previous versions.
So, what’s going on?
This isn’t a bug, this is a deliberate change. Rec-709 is no longer the only colourspace that people need to work in and more and more new computers and monitors support other colourspaces such as P3 or Rec2020. The Macbook Pro I am writing this on has a wonderful HDR screen that supports Rec2020 or DCI P3 and it looks wonderful when working with HDR content!
Color Management and Colorspace Transforms.
Premiere 2022 isn’t adding a LUT to the log footage, it is doing a colorspace transform so that the footage you shot in one colorspace (S-Log3/SGamut3.cine/V-Log/C-Log/Log-C etc) gets displayed correctly in the colorspace you are working in.
S-Log3 is NOT flat.
S-Log3 is NOT flat.
A common misconception is that S-log3 is flat or washed out. This is not true. S-log3 has normal contrast and normal colour.
The only reason it appears flat is because more often than not people use it in a miss matched color space and the miss match that you get when you display material shot using the S-log3/SGamut3 colorspace using the Rec-709 colorspace causes it to be displayed incorrectly and the result is images that appear to be flat, lack contrast and colour when in fact your S-Log3 footage isn’t flat, it has lots of contrast and lots of colour. You are just viewing it incorrectly in the incorrect colorspace.
So, what is Premiere 2022 doing to my log footage?
So, what is Premiere 2022 doing to my log footage?
What is now happening in Premiere is that Premiere 2022 reads the clips metadata to determine its native colorspace and it then adds a colorspace transform to convert it to the display colourspace determined by your project settings.
The footage is still S-Log3, but now you are seeing it as it is actually supposed to look, albeit within the limitations of the display gamma. S-log3 isn’t flat, it just that previously you were viewing it incorrectly, but now with the correct colorspace being added to match the project settings and the type of monitor you are using the S-Log3 is being displayed correctly having been transformed fro S-Log3/SGamut3 to Rec-709 or whatever your project is set to.
If your project is an HDR project, perhaps HDR10 to be compatible with most HDR TV’s or for a Netflix commission then the S-log3 would be transformed to HDR10 and would be seen as HDR on an HDR screen without any grading being necessary. If you then changed you project settings to DCI-P3 then everything in your project will be transformed to P3 and will look correct without grading on a P3 screen. Then change to Rec709 and again it all looks correct without grading – the S-Log3 doesn’t look flat, because in fact it isn’t.
Color Managed Workflows will be the new “normal”.
Color Managed Workflows will be the new “normal”.
Colour managed workflows such as this are now normal in most high end edit and grading applications and it is something we need to get used to because Rec709 is no longer the only colorspace that people need to deliver in. It won’t be long before delivery in HDR (which may mean one of several different gamma and gamut combinations) becomes normal. This isn’t a bug, this is Premiere catching up and getting ready for a future that won’t be stuck in SDR Rec-709.
A color managed workflow means that you no longer need to use LUT’s to convert your Log footage to Rec-709, you simply grade you clips within the colorspace you will be delivering in. A big benefit of this comes when working with multiple sources. For example S-Log3 and Rec-709 material in the same project will now look very similar. If you mix log footage from different cameras they will all look quite similar and you won’t need separate LUT’s for each type of footage or for each final output colorspace.
The workaround if you don’t want to change.
A color managed workflow means that you no longer need to use LUT’s to convert your Log footage to Rec-709, you simply grade you clips within the colorspace you will be delivering in. A big benefit of this comes when working with multiple sources. For example S-Log3 and Rec-709 material in the same project will now look very similar. If you mix log footage from different cameras they will all look quite similar and you won’t need separate LUT’s for each type of footage or for each final output colorspace.
The workaround if you don’t want to change.
If you don’t want to adapt to this new more flexible way of working then you can force Premiere to ignore the clips metadata by right clicking on your clips and going to “Modify” and “Interpret Footage” and then selecting “Colorspace Override” and setting this to Rec-709. When you use the interpret footage function on an S-Log3 clip to set the colorspace to Rec709 what you are doing is forcing Premiere to ignore the clips metadata and to treat the S-Log3 as though it is a standard dynamic range Rec-709 clip. In a Rec-709 project his re-introduces the gamut miss-match that most are used to and results in the S-Log3 appearing flat and washed out. You can then apply your favourite LUTs to the S-Log3 and the LUT then transforms the S-Log3 to the projects Rec-709 colorspace and you are back to where you were previously.
This is fine, but you do need to consider that it is likely that at some point you will need to learn how to work across multiple colorspaces and using LUTs as colorspace transforms is very inefficient as you will need separate LUTs and separate grades for every colorspace and every different type of source material that you wish to work in. Colour managed workflows such as this new one in Premiere or ACES etc are the way forwards as LUTs are no longer needed for colorspace transforms, the edit and grading software looks after this for you. Arri Log-C will look like S-Log3 which will look like V-Log and then the same grade can be applied no matter what camera or colorspace was used. It will greatly simplify workflows once you understand what is happening under the hood and allows you to output both SDR and HDR versions without having to completely re-grade everything.
Unfortunately I don’t think the way Adobe are implementing their version of a colour managed workflow is very clear. There are too many automatic assumptions about what you want to do and how you want to handle your footage. On top of this there are insufficient controls for the user to force everything into a known set of settings. Instead different things are in different places and it’s not always obvious exactly what is going on under the hood. The color management tools are all small addons here and there and there is no single place where you can go for an overview of the start to finish pipeline and settings as there is in DaVinci Resolve for example. This makes it quite confusing at times and it’s easy to make mistakes or get an unexpected result. There is more information about what Premiere 2022 is doing here: https://community.adobe.com/t5/premiere-pro-discussions/faq-premiere-pro-2022-color-management-for-log-raw-media/
Unfortunately I don’t think the way Adobe are implementing their version of a colour managed workflow is very clear. There are too many automatic assumptions about what you want to do and how you want to handle your footage. On top of this there are insufficient controls for the user to force everything into a known set of settings. Instead different things are in different places and it’s not always obvious exactly what is going on under the hood. The color management tools are all small addons here and there and there is no single place where you can go for an overview of the start to finish pipeline and settings as there is in DaVinci Resolve for example. This makes it quite confusing at times and it’s easy to make mistakes or get an unexpected result. There is more information about what Premiere 2022 is doing here: https://community.adobe.com/t5/premiere-pro-discussions/faq-premiere-pro-2022-color-management-for-log-raw-media/
New LUTs from Sony
I was asked by Sony to produce a couple of new LUT’s for them. These LUT’s were inspired by many recent blockbuster movies and have been named “Space Adventure” and “Super Hero”.
Both LUT’s are available for free and there is a link on the page linked below that will allow you to obtain them.
Rather than explain the two different looks here go to this page on the Sony website https://pro.sony/en_GB/filmmaking/filmmaking-solutions/full-frame-cinematic-look
Scroll down to where it says “Stunning Cinematic Colour” and there you will find a video called “Orlaith” that shows both LUT’s applied to the same footage.
Orlaith is a gaelic name and it is pronounced “orla”. It is the name of a mythical golden princess. The short film was shot on a teeny-tiny budget in a single evening with an FX3 and FX6 using S-Log3 and SGamut3.cine. Then the LUTs were applied directly to the footage with no further grading.
