![]() Arri’s Log-C for example, just as Sony’s S-Log3 are both based on the Cineon curve characteristics. However, most color grading tools are really designed to work optimally with Cineon log curve, developed long time ago to allow digitising of film in 10 bit data. In theory this was a smart move by Sony as it would make it easier to match S-Log2 footage to other Sony cameras. While S-Log2 is an excellent container, it was designed to work with 14 stops of dynamic range and was optimised to match the characteristics of video sensors. It was paired with Sony’s S-Gamut which was specifically designed to encompass all of the colors that can possibly be created by Sony F65 sensor. ![]() You see S-Log2 was actually developed to be used in Sony’s F65 camera. To understand why S-Log2 footage is harder to grade we need to go back a bit. “How can I make my S-Log2 footage easier to grade?” And it’s a good question indeed as it’s harder to grade S-Log2 footage than it is to grade S-Log3 or other log formats? But why? This is probably one of the more common questions we get asked.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |