Using Picture Profile presets with S-Log
Sony FS100 LOG(SLOG2) to REC709 LUT $ 0.00. Free FS100 LUT for my Custom Profile. Categories: Digital Download, LUTS, Luts & Presets Tags: custom, flat, fs100. All LUT Downloads Built-In Preset LUT Downloads Additional Preset LUT Downloads CD LUT Utility Sony S-Log2 SGamut to Rec709 S-Log2/S-Gamut to Rec.709 colour and pure Rec.709 curve with clipped highlights.
When shooting in S-Log, use Picture Profile presets PP7, PP8, or PP9.
The PP7 preset combines S-Gamut and S-Log2, while PP8 is S-Gamut3.cine/S-Log3 and PP9 is S-Gamut3/S-Log3. Here, select PP7 (S-Gamut/S-Log2) and leave the preset details as-is. A distinction of this Picture Profile, intended for subsequent color grading, is a gamma broad enough for movie production.
Camera setting and types of Picture Profiles
MENU → (Camera Settings) → [Picture Profile] → desired setting.
- PP1:
- Example setting using [Movie] gamma
- PP2:
- Example setting using [Still] gamma
- PP3:
- Example setting of natural color tone using the [ITU709] gamma
- PP4:
- Example setting of a color tone faithful to the ITU709 standard
- PP5:
- Example setting using [Cine1] gamma
- PP6:
- Example setting using [Cine2] gamma
- PP7:
- Example setting using [S-Log2] gamma
- PP8:
- Example setting using the [S-Log3] gamma and the [S-Gamut3.Cine] under [Color Mode].
- PP9:
- Example setting using the [S-Log3] gamma and the [S-Gamut3] under [Color Mode].
- PP10:
- Example setting for recording HDR movies using [HLG2] gamma.
- Learn more
Why Log video looks faded and low-contrast
Often, gamuts used in professional video applications conform to ITU-R BT.709 (Rec. 709), established for HDTVs. This is illustrated below.
Here, the curved color space represents the range of human vision. The gamut of Rec. 709 is much narrower. In contrast, it is easy to appreciate how much broader S-Gamuts used in S-Log recording are.
When viewed on a screen designed for Rec. 709, Log video lacks contrast because the screen cannot display the full gamut.
The ITU-R BT.2020 gamut outlined in green can be reproduced by 4K equipment. This shows how much broader your creative palette is in 4K than in HD.
Appearance of S-Log2 video on a Rec. 709 screen
Easily reproducing colors on Rec. 709 screens with 3D LUTs
Optimal display of Log video on Rec. 709 screens requires color grading, when you will use lookup tables (LUTs). This conversion prepares the material for display on Rec. 709 screens.
Unlike 1D LUTs, which mainly adjust luminance, 3D LUTs control hue, saturation, and brightness of each RGB color. LUTs simplify color grading, because without them, instant S-Log video display matching the gamut of Rec. 709 screens would be difficult as you adjust tone curves, hue, saturation, and other details two-dimensionally.
Free Sony S-log 2 To Rec.709 Lut
When ILCE-7SM3 has recorded movies in the [S-Log3] gamma and S-Gamut3.Cine under Color Mode or S-Gamut3 under Color Mode, you can use this LUT.
Using Gamma Display Assist and external monitors
To make it easier to check S-Log video on a Rec. 709 screen as you shoot, use Gamma Display Assist to apply LUTs. The contrast of viewfinder and monitor display will look as if you were not shooting in S-Log. In this way, Gamma Display Assist enables precise camerawork, whether you are checking subjects or adjusting the focus.
You can also take advantage of LUT-compatible external monitors, which are now more common.
Comparison of using a LUT on an external monitor
This video introduces shooting in S-Log and shows how effective it can be.
When shooting in S-Log, you can choose S-Log2 or S-Log3. Colors are reproduced differently depending on your choice, so use the right option for your workflow.
In this video, you can see how S-Log2 colors differ from those of S-Log3.
In the world of expensive cameras like the Sony A7s III and Canon EOS R5, there are those who use Canon’s budget cameras like the Canon Ti Series, SL series, etc. With those cameras, there’s a common picture profile being used called Prolost Flat. It’s good and all, but the most difficult thing about it is getting the footage to look great while editing. That’s were LUTS come into play.
(Downloadable Prolost Flat to Linear LUT can be found below.)
First off, What is Prolost Flat?
Prolost Flat is a modified Neutral Picture Style with these settings.
- Sharpness set to zero
- Contrast set to all the way to the left
- Saturation set two notches to the left
- Color tone set to zero
This profile has less contrast and saturation to help preserve information within your cameras dynamic range, specifically in the highlights and the shadows.
Linear LUT for Prolost Flat
Lowering the contrast in cameras causes the shadows, mid tones, and highlights to curve. As a result, grading straight from a flat footage doesn’t always have a favorable look just by bumping up the contrast and saturation. Bumping the contrast and saturation only stretches the waveform generally from the mid tones out towards the highlight and shadows. Instead the footage should be converted into a linear color space first.
Here are some test shots from Prolost Flat to Linear.
Adding the LUT causes the flat video to have a bit more color and better contrast than Prolost Flat to have a starting point for the color grading process. Keep in mind the contrast and saturation controls were not used during the making of the LUT. The only thing that changed was the curve.
Download the Prolost to Linear LUT here.
What Now?
Assuming that you exposed and white balanced your footage, you can bump up the saturation and contrast as you like and grade the footage after adding the LUT.
Enjoy!
Additional Information
The Linear LUT will only work on the Prolost Flat Picture Profile with specific settings:
18% Grey @ 50% IRE for ProlostFlat_to_Linear_EV0.cube
18% Grey @ 62.5% IRE for ProlostFlat_to_Linear_EV1.cube
This LUT was create by me and I’m not claiming to be a professional colorist or a LUT creator. I made this LUT for experimentation and will continue testing. If you would like to support the continuation and making of the LUT feel free to message me!
If you would like to get a hold of a Prolost to Rec.709 LUT visit Adrian Bacon’s article.
Q&A
Is this a conversion LUT to Rec.709?
Not necessarily, but take is as you will. I don’t have Rec.709 to compare with Canon’s sRGB color space so I won’t call this Prolost to Rec.709, but Prolost to Linear.
How did you come up with this LUT?
Canon Rec 709 Lut Download
Gerald Undone, a youtuber, has made a very informative video on Common Log Grading Mistakes. I took information from his video and created the LUT.
Why does the 11-Step Gray Scale image look like that?
Sony Slog2 To Rec709 Lut
The 11-Step Gray Scale image I shot isn’t the true dsclabs 11-Step Gray Scale Chart. It’s a screenshot image of the 11-Step Gray Scale Chart. Although it may not be it’s true color I had to work on the Prolost Flat footage relative to my camera’s Neutral Picture Profile, not the screenshot image. This keeps a consistent curve conversion.
Sony Slog2 To Rec 709 Lut
One thing that may be flawed is the light coming from the monitor itself effected the 11-Step Gray Scale screenshot. Monitors are known to be inconsistent with exposures while look at the monitor at different angles.