S-Log3 color grading, exposing and workflow tutorial

Sony a7s III S-Log3 color grading, exposing and workflow tutorial

00:00 - S-Log3 Picture Profile on the Sony a7s III
00:28 - S-Log3 Picture Profile Settings
01:02 - How to expose S-Log3
01:56 - Lowlight and high ISO in S-Log3
02:20 - Setting and fixing white balance in S-log3
02:36 - S-log3 monitor and grading LUT
03:13 - Push the noise down in S-Log 3
03:25 - Color grading of S-Log 3
04:18 - The benefits of using S-Log 3

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[NOlimitsON]

Which picture profile do you use and why?

#Sony #Slog #Slog3 #Log #Sonya7s3 #Sonya7sIII #Slog3footage

[updraftproductions]

I don’t normally comment on videos but a video with all this info together, told quickly and concisely is just what I was looking for. Well done. You earned a sub!

[jason]

This is one of the best videos on slog3 I’ve watched

[bigoprods]

Just upgraded to the a7s III from the a6400, and this video is perfect for me! I appreciate your detailed explanations too.

[ouajbir]

Very informative in less than 5min!!! Great job again 👏🏻

[sanjaysingha]

Finally someone who uses ire and false color rather than just +2 ev. Most YouTubers get it wrong and I just feel very sad for them.

[Studios]

I just watched this video so I am sorry if I am late in commenting but I wanna just correct some misconception. First is the green tint issue. There is no green tint issue on Slog3 provided that you used a good accurate lighting such as Nanlite and Aputure lights, you have the right white balance setting on your camera, and your scene really doesnt have that issue at all like for example light bouncing off a green leaf so of course your subject will have a green tint, and you used CST or ACES transform if you are on Davinci Resolve, or if you are on Premiere or FCP, then you should use the LUT provided by Sony themselves because it will correctly map your image from Slog3 to Rec 709. You dont need to adjust the color phase setting. As for setting the right white balance, just match the setting to your light source so for example if your light source is 5600k then set your camera to 5600k, if its tungsten then set it to around 3000-3600k. Setting custom white balance and point it to what you think is a white object such as walls can be very bad because most likely those objects are not pure white. The safest bet is to just know what is the light source of your scene because most likely you wont have a pure white object for the custom white balance to work properly. I'm not sure about Alister Luts though I think it can be a very good show LUT for your camera monitor, but the safest bet during post is just to use Sony's Slog3 to Rec 709 LUT or their other transform LUTs depending on what color space output you would need, perhaps DCI-P3 output. Sony's LUTs are the safest bet to have an accurate starting point in post because they themselves are making the camera and know fully the color science because they made it therefore they could correctly map it. As for the saturated red, that shouldn't happen if you used Sony's LUT, unless the object is really a highly saturated red in real life. There shouldn't be any issues if you are using Sony's LUT, or if you are in Davinci Resolve the ACES transform or Color Space Transform (CST) because as what I've said, they should properly mapped it to the desired output color space. It should properly show you how the scene really was if you properly shot it so if the reds on your scene is really not highly saturated then it shouldn't be that saturated when its being transformed. Of course, the LUTs should be during the end of your pipeline because all LUTs are destructive in nature if you grade after applying the LUT.

[Ariel_emerald]

as expected from you, this really is one of the best and easiest to understand videos on properly exposing slog3 that I've seen. perfect for me since i'm still learning how to properly take advantage of slog3.

[iamakkkshay]

Using s log 3 with s gamut 3 cine on my smartphone using mcpro 24FPS application, loving the dynamic range and less noise and 0 banding.

Sony imx 682 image sensor in my realme 7 already has the reddish tint so I face no green tint issue while grading faces☺️

[AlanWillett]

Great informative video! Comments are very productive and the author answers every question. Class act! 🔥

[MPochotko]

This video is super informative! Been looking for concise info about this stuff for a long time. Nice work

[smepable]

Thanks for this short but all you need to know Video! Love this camera.

[ErhanK]

Unrelated, but I loved your Istanbul footage. I'd like to see the whole video if you've published it on somewhere

[SHmediade]

So much informations in 5 minutes! Thanks for this video this helps me out 😊🤗

[JaredBishopFilms]

Still on an 8-bit camera here, lately I've been using S-log3, but withe the 709matrix color profile and it grades beautifully! Have actually had less banding and cracking issues than with S-log2.

[andrewtaylor]

Color phase rotates the hue, it doesn't just "add magenta". A positive value will move reds toward magenta, yellows toward red, purple toward blue, blue toward cyan etc.

[martinpauly]

Thank you for making this very nice tutorial - it has helped me a lot!
- Martin

[perthlongboardingsociety]

Hey man just a tip, you can set a custom zebra setting at the exact zebra clipping point for slog 3. Make a custom zebra set for lower limit 91 (if I remember my settings correctly)

[ChrisKaplan]

This tutorial was really helpful. Thanks

[tmonkeypunch]

I've always used a custom Cine4 PP when I used to shoot on the a6300 and the A7III because of the 8-bit colors like you mentioned, and still do with the A7SIII, but after watching this video I might give S-log 3 a try.