Technical Summary For S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3

Technical Summary for
S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3

Introduction
F65, F55 and F5 will add two new color grading spaces, “S-Gamut3.Cine/S-Log3” and “S-
Gamut3/S-Log3”. This document provides a technical summary of the new color grading
space for people who are familiar with Log Base Grading.
“S-Gamut3.Cine/S-Log3” is designed for more like pure log workflow. Color space is similar to
negative film scan which is used for TV production, film out and digital cinema. Color
reproduction is designed slightly wider than DCI-P3 to provide ample room of grading. Tone
curve is more like pure log encoding characteristics preserving more tonal gradations in the
blacks, and has good compatibility with Cineon workflow.
“S-Gamut3/S-Log3” is very close to camera native color, and is very good for archiving as a
digital camera negative, as 8/10/12bit code value. Color space of S-Gamut3 is kept the same
area of original S-Gamut, though color reproduction inside S-Gamut3 is more accurate than S-
Gamut.
Color space setting of “S-Gamut3.Cine/S-Log3” and “S-Gamut3/S-Log3” will be recorded

XAVC, HDCAM SR and MPEG50 in the F55 and F5 cameras, and with HDCAM SR in the F65
camera. These colors spaces are not applied to 16bit RAW linear recording, in this case only
the color space metadata is saved. Both color spaces can be applied to RAW data during the
De-Bayer process.
S-Gamut/S-Log2 selection is still available in the camera and workflow tools to maintain
backward compatibility. S-Gamut and S-Log2 are not combined to new S-Log3, S-
Gamut3.Cine and S-Gamut3 to simplify user interface.
S-Gamut3.Cine/S-Log3 S-Gamut3/S-Log3
S-Gamut/S-Log2 709 Tone/Color (Look Profile LC-709)
S-Gamut3.Cine/S-Log3
S-Gamut3.Cine is similar to negative film scan which was used for TV production, film out
digital cinema. Color reproduction is designed slightly wider than DCI-P3 to provide ample
room for grading. Thus manual grading for P3 becomes easier. S-Gamut3.Cine is more
convenient to grade than S-Gamut3 and S-Gamut as camera digital negative.
If you would like to apply print film emulation, please increase saturation to about 1.4. Sony
also provides .cube files (Look Profile) to convert 709 video color space.
S-Gamut3 S-Gamut3.Cine
(S-Gamut)
P3
709
S-Log3 is based on Cineon Digital Negative revised in 2007. S-Log3 tone curve has no
shoulder and is reduced the toe (non-linear curve in shadow area). It is more like a pure log
encoding than S-Log2 to provide better log based grading (See chart below). Mid-tone value;
18% grey is brighter than S-Log2. S-Log3 has 1.5 stops wider dynamic rage than S-Log2,
covering the full EI range. It is not necessary to change the conversion formula for each EI
setting.
S-Log2 No shoulder. Dynamic

range is extended
about 1.5 stops.
S-Log3
The toe is reduced in

shadow area for better
shadow contrast Mid-tone (18% grey) is
brighter than S-Log2.
S-Log3 Comparison with other Log curve

S-Gamut3/S-Log3
S-Gamut3 is almost camera native color space, and wider than S-Gamut3.Cine. So this space
is best for ACES, ITU-R BT.2020 and camera data archiving use. The color primaries (edge of
color space triangle) of S-Gamut3 are the same as conventional S-Gamut. Current S-Gamut
needs color temperature setting to select color conversion matrix. But S-Gamut3 is optimized
to combine these color conversion matrix. The conversion matrix does not depend on color
temperature any more. The ACES IDT for S-Gamut3 becomes simpler than S-Gamut.
ACES
S-Gamut3
(S-Gamut)
ITU-R BT.2020
ITU-R BT.2020 is color space of UHDTV (Ultra-high definition television).
Launch schedule
F55/F5
S-Gamut3.Cine/S-Log3 has been implemented from V3.0 in January 2014.
S-Gamut3/S-Log3 will be implemented around in spring 2014.
These setting are placed at System - Base Setting Page.
F65
S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3 will be implemented in spring 2014.
RAW Viewer
S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3 has been implemented from V2.1 in January/2014.
FAQ
Q1. Are S-Log3, S-Gamut3.Cine and S-Gamut3 successors to the current S-Log2
and S-Gamut?
A1. No. We will provide options for a while. Camera and Software tools do not eliminate
current S-Log2 and S-Gamut. To reduce complexity of user interface, S-Log3 is always
combined with the new S-Gamut3.Cine or S-Gamut3 in the camera menu.
Q2. How about supporting status of other tool vendors and post production?
A2. We communicate regularly with each stakeholder. We will update the schedule when we
get information for implementation.
Q3. Will Sony provide 3D-LUT for 709 color space?

A3. Yes. We will provide 3D LUT (Look Profiles) for S-Gamut3.Cine/S-Log3 like current S-
Gamut/S-Log2 Look Profiles. We will let you know soon.
http://community.sony.com/t5/F5-F55/NEW-3D-LUT-s-for-F55-and-F65/m-p/135617#U135617
Q4. Is S-Log3 Full (Extended) range or Legal range?

A4. S-Log3 is recorded as Full range in XAVC, MPEG and HDCAM SR File. Camera SDI output
is also Full range every time. There is no option to select Legal range to prevent miss
operation. Full (Extended) range: Data range is used from 0 to 1023 (from -7IRE to 109IRE)
to utilize full 10bit code value. SDI treat valid data from 4 to 1019, but definition of Full
(Extended) does not change between file and SDI.
Legal range: Data range is scaled and limited from 64 to 940 (from 0IRE to 100IRE) in 10bit
code value.
Q5. Which is the best selection to use ACES workflow?

A5. We recommend using S-Gamut3/S-Log3 for ACES as recording of 10bit MXF.
S-Gamut3.Cine is narrower than S-Gamut3 and good for DCI-P3 grading.
Q6. Which color space and log are used for RAW recording?
A6. RAW is sensor native data and RAW does not apply any color space nor log curve. RAW is
always recorded by 16bit Scene linear. S-Log3 is designed to utilize 8/10/12bit code value to
reserve wide dynamic range effectively for 444 or 422 recording.
Appendix
S-Log3 Formula
Scene Linear Reflection to S-Log3

If in >= 0.01125000
out = (420.0 + log10((in + 0.01) / (0.18 + 0.01)) * 261.5) / 1023.0
else
out = (in * (171.2102946929 – 95.0)/0.01125000 + 95.0) / 1023.0
in = reflection
reflection = IRE * 0.9
out 0.0 - 1.0
if you need 10bit code for “out”.
10bit code = Round(out * 1023.0)
S-Log3 to Scene Linear Reflection

If in >= 171.2102946929 / 1023.0
out = (10.0 ^ ((in * 1023.0 - 420.0) / 261.5)) * (0.18 + 0.01) - 0.01
else
out + (in * 1023.0 – 95.0) * 0.01125000 / (171.2102946929 – 95.0)
in 0.0 - 1.0
out = reflection
reflection = IRE * 0.9
if you use 10bit code for “in”
in = S-Log3 10bit Code / 1023.0
S-Log3 10bit code values (18%, 90%)
Input reflection 0% Black (IRE0%) 18% Grey (IRE20%) 90% White (IRE100%)
Output IRE CV IRE CV IRE CV
S-Log3 3.5% 95 41% 420 61% 598
S-Log2 3.0% 90 32% 347 59% 582
S-Log 3.0% 90 38% 394 65% 636
Color Primaries and conversion matrix

Technical Summary For S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3

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Technical Summary for

S-Gamut3.Cine/S-Log3 and S-Gamut3/S-Log3

Color space setting of “S-Gamut3.Cine/S-Log3” and “S-Gamut3/S-Log3” will be recorded

S-Gamut/S-Log2 709 Tone/Color (Look Profile LC-709)

S-Log2 No shoulder. Dynamic

The toe is reduced in

S-Log3 Comparison with other Log curve

ITU-R BT.2020 is color space of UHDTV (Ultra-high definition television).

Q3. Will Sony provide 3D-LUT for 709 color space?

Q4. Is S-Log3 Full (Extended) range or Legal range?

Q5. Which is the best selection to use ACES workflow?

Scene Linear Reflection to S-Log3

S-Log3 to Scene Linear Reflection

S-Log3 10bit code values (18%, 90%)

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