Sony PMWF3L/RGB Brochure page 8

12.5 stops of latitude, 10-bit S-Log
Sony understands that you want the maximum highlight detail, shadow detail and range of
adjustment in post. Even with conventional gamma, the PMW-F3 delivers a tremendous 12.5
stops of exposure latitude, while Hyper Gamma curves optimize grayscale response. Going
further, 10-bit S-Log Gamma mimics the tonal response of film negative and preserves the full
dynamic range of the image sensor. Previously an option, S-Log is now a standard feature of
the F3. This logarithmic tonal curve optimally assigns the digital code values of the 10-bit RGB
components from deep shadow to bright highlights. Higher coding precision throughout the
tonal range preserves full flexibility in color correction. For seamless workflow, converters called
Look-Up Tables (LUTs) transform S-Log gamma back to conventional gamma.
Viewing LUTs for client monitoring
In the S-Log workflow, the full beauty of the image can be
somewhat hidden. Without the correct decoding, S-Log
imagery has a "flat" look, missing punchy highlights and
shadows. While DPs may be accustomed to looking at such
Log encoded images, producers and clients may not. For
this reason, S-Log operation uses LUTs ( Look Up Tables ) . A
Look Up Table is a small text file that maps the Red, Green
and Blue conversion from S-Log. The F3 comes with four LUTs,
which you can modify in Sony's free CVPFileEditor software.
In addition, you can upload up to five custom LUTs. You can
use these same LUTs in many popular editing and finishing
tools including DaVinci™ Resolve™, Assimilate™ Scratch™,
Baselight™ FilmLight™, Final Cut Pro™, Quantel™ Pablo™
and Autodesk™ Lustre™. One of the camera's built-in LUTs
converts S-Log Gamma to conventional Rec. 709 video for
real-time monitoring on the set and offline recording onto
SxS memory cards. Simultaneous recording of online and
offline material with identical time code enables efficient
post-production workflow.
S-Log EI mode
With firmware version 1.20, Sony introduced a refinement
to the monitor LUTs called S-Log EI mode. This enables you
to optimize the monitor image by boosting the gain of the
monitor LUT. You can select EI 800, 1600 or 3200—without
affecting the recorded image.
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From dark of night
to exterior day to
pyro, Sony S-Log
delivers amazing
images.
100%
80%
60%
40%
S-Log
20%
R709
0%
0% 100% 200% 300% 400% 500% 600% 700% 800% 900%
Conventional Rec 709 video encoding quickly runs out of gas in the image
highlights. Sony's 10-bit S-Log Gamma bends the curve to dramatically
extend the highlight handling to 800% of nominal peak white.
S-Log Output Options
• S-Log 4:2:0 capture to XDCAM EX internal recording
• S-Log 4:2:2 external recording via Link A HD-SDI output
• S-Log 4:4:4 external recording via Dual-Link HD-SDI
• S-Log 4:2:2 1080/60p external recording via Dual-Link HD-SDI
(requires free version 1.31 software update)
• S-Log external recording via 3G-SDI output
Original S-Log frame grab from Alin Bijan's 'The Ghost of Goodnight Lane', shot with the F3. The "flat," somewhat
washed-out look is typical of uncorrected S-Log.
S-Log
R709
1000%
The same image, corrected. Thanks to S-Log Gamma, the face is beautifully exposed, yet darker areas retain
phenomenal detail.
• Simultaneous S-Log recording to HD-SDI output and LUT
applied to XDCAM EX internal recording
• Simultaneous S-Log recording to HD-SDI A output and
4:2:2 monitor LUT to SDI output ( requires free version 1.31
software update )
• Simultaneous S-Log recording to Dual-Link HD-SDI or 3G-SDI
output at 4:4:4 and 4:2:2 monitor LUT to SDI output ( requires
free version 1.31 software update )
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