Sony Log Guide

Help Guide for Creators
This is a guide to more creative image production using a camera manufactured by Sony.
This Help Guide describes log shooting and Picture Profile.
Log Shooting
Log shooting is designed to provide as much editing freedom as possible in post-production, after you shoot.
Picture Profile
Not designed with post-production in mind, Picture Profile enables you to fine-tune gradation, color tone, and other
details, bringing you closer to the final image you seek at the time of shooting.
For details, see “Shooting workflows in image production.”
Note
Camera functions and operations may vary by model. For details on functions and operations, refer to the operating instructions or
Help Guide for your model.
Image Production Basics
Shooting workflows in image production
Gamma and Knee
What is S-Log?
What is HDR?
Color Space
Gamut
Detail
Log shooting (models with a [Log Shooting Setting] menu)
Log shooting
Flexible ISO
Cine EI
Cine EI Quick
What is Base ISO?
Using the Exposure Index in shooting
Using LUTs in shooting
Using metadata in post-production
1
Using Picture Profile
What is Picture Profile?
Setting basic contrast/coloring (Gamma/Color Mode)
Adjusting contrast (Black Level/Black Gamma/Knee)
Adjusting coloring (Saturation/Color Phase/Color Depth)
Emphasizing image edges (Detail)
C-198-100-17(1) Copyright 2015 Sony Corporation
2
Shooting workflows in image production
Image production can be broadly classified into two shooting workflows, and which one to follow depends on whether or
not your images will be color-graded in post-production after you shoot.
Shooting workflow not based on color grading in post-production

Less work is required in post-production if the images you shoot closely resemble the final images you envisioned. This
can streamline image production.
By using Picture Profile, you can fine-tune gradation, color tone, and other image details.
Shooting workflow based on color grading in post-production

You can enjoy greater creative freedom by capturing images that retain as wide a dynamic range and gamut as possible
and then color-grading them in post-production to suit the scene.
By shooting with a log gamma, you can capture images with a wide dynamic range and gamut.
Log shooting methods vary by camera model.

For models with a [Log Shooting Setting] menu, complete the log shooting settings using [Log Shooting Setting].
Models without a [Log Shooting Setting] menu include log shooting settings in [Picture Profile].
Note
Available functions vary by camera model.
Related Topic
Log shooting
3
Gamma and Knee
Gamma curve, knee point, and knee slope are elements that exert great influence over image characteristics. By
understanding these, you’ll be able to utilize Picture Profile efficiently.
What is a gamma curve?

Gamma curves show the relationship between the input signal level and the output signal level. The camera converts the
brightness signal from the subject into an electrical signal and sends the electrical signal to the display monitor, which
converts that signal back to a brightness signal and reproduces the subject as an image. The input signal level can be
described as the amount of light from the subject and the original image, whereas the output signal level can be
described as the level of the image signal output by the camera.
In order to faithfully reproduce a subject in video images, the output signal level needs to be largely proportional to the
input signal level, as shown in the straight line below. But the fluorescent material characteristics of a CRT (cathode-ray
tube) cause the output signal level from CRT monitors to curve as shown below. This represents the gamma curve of
CRT monitors. The camera’s video gamma curve plots the opposite curve. For this reason, the properties of the camera
and CRT monitor can be offset to faithfully reproduce and display the original subject.
The inherent characteristics of an LCD (liquid crystal display) are different from those of a CRT monitor. However,
because the camera is designed for CRT monitors, LCD monitors and OLED (organic light-emitting diode) monitors
mimic the CRT’s gamma curve.
How the gamma curve’s shape influences images

Influence on dark areas and contrast
High-end cameras have a function to slightly change the shape of the gamma curve for dark areas of the image, known
as Black Gamma. Changing the gamma curve shape lets you dramatically alter the atmosphere of the image by
strengthening or weakening the shading, or contrast, of the image.
4
What is knee correction?
Cameras are, in general, not good at clearly capturing a scene that contains extremely different luminance levels, such
as one object in bright sunlight and another in the shade. If you set the right exposure for the object in the shade, the
object under the sun will be captured too brightly and appear as a plain white object without texture or gradation. Knee
correction is a function necessary to keep these kinds of images with a large disparity in luminance levels within the
standard range of video signal levels. Just as Black Gamma influences contrast in dark image areas, knee correction
deals with contrast in image areas with high luminance levels.
CMOS sensors can handle an extremely bright input signal. To output it as a video signal, however, we need to keep the
signal within the standard range for video. For this reason, the signal output level is kept lower than the signal input level
in high-luminance areas that generate input signals over a certain level. In the chart below, the line bends like a knee at
a certain point in the high-luminance range. This is called the knee point. The line extending from the knee point is called
the knee slope.
By changing the position of the knee point and the inclination of the knee slope, contrast in the high-luminance range can
be altered. The breadth of input signal levels that a system can process is called the dynamic range.
Without knee correction
5
With knee correction
6
What is S-Log?
S-Log is a gamma curve that is optimized under the assumption that grading will be performed in the post-production
process. S-Gamut is color reproduction that is supposed to be used together with S-Log.
When using S-Log to shoot, performing grading in the post-production process will allow you to create image effects
matching each scene with a great degree of flexibility. To make such effects possible, images must be shot with a wide
dynamic range and wide color reproduction range. The S-Log gamma curve and the S-Gamut color reproduction are
used for shooting such images.
Images recorded using S-Log and S-Gamut can be enhanced with detailed image effects during the post-production
process. You can create a variety of effects such as fresh morning scenes, scenes with tension, scenes that recall the
past, and many more. These effects are finalized during the post-production process.
Before S-Log shooting, change the [Log Shooting Setting] setting. On models without [Log Shooting Setting], choose
from PP7, PP8, or PP9 in [Picture Profile].
To perform grading on images recorded using S-Log, dedicated grading software or video editing software with a grading
function is required. You can also try performing basic grading work using Catalyst Browse/Catalyst Prepare from Sony
Creative Software at the following URL.
https://www.sonycreativesoftware.com/
Sample image of a movie recorded using S-Log3
Sample image of a movie after grading (S-Log3)
7
Monitoring images in log shooting
S-Log gamma images are harder to monitor at the time of shooting because they have lower contrast than usual. For
display with normal contrast on the monitor or viewfinder, which is helpful in subject checking, focusing, and other
precise camerawork, you can use the following functions.
Display LUT
Available in log shooting with the [Log Shooting Setting] function. An easy way to reproduce the effect of color
grading on images, for display on the monitor or viewfinder.
Gamma Display Assist

Available in log shooting with Picture Profile. Reproduces the [ITU709 Matrix]/[ITU709 (800%)] display on the monitor
or viewfinder for [S-Gamut] (color mode)/[S-Log2] (gamma) and [S-Gamut3.Cine]/[S-Log3] images.
[ITU709(800%)] gamma
[ITU709(800%)] is a gamma curve for easily previewing a level of gradation equivalent to that of an image recorded
using [S-Log2] or [S-Log3] and graded to ITU709.
When you adjust the shooting exposure with [Gamma] set to [S-Log2] and then switch [Gamma] to [ITU709(800%)],
a low-contrast image will be displayed with ITU709 contrast applied. Although [ITU709(800%)] applies a greater
degree of contrast than the S-Log gamma curve, gradations in high-luminance areas may become invisible. Use [S-
Log2], [S-Log3], or [ITU709(800%)] depending on the element you want to preview.
Note
Available functions and S-Log options vary by camera model.
8
What is HDR?
What is dynamic range?

Dynamic range refers to the range of brightness that can be expressed in your images.
What is HDR?
In conformity with the television standard, most movies we watch on a TV can only be played back with limited
brightness. These video specifications have prevented perfectly faithful reproduction of very bright or well-lit subjects. In
high-contrast scenes, bright areas may have tended to look overexposed if dark areas were emphasized, or vice versa.
Unlike this Standard Dynamic Range (SDR) of brightness, High Dynamic Range (HDR) offers an expanded range of
brightness. Because HDR movies retain a wider spectrum of brightness, bright or well-lit subjects look more natural and
realistic. Less likely to look over- or underexposed, these movies are more nuanced and expand your creative palette.
An international standard for HDR is Recommendation ITU-R BT.2100, and when you set Picture Profile for shooting in
HDR, your movies will conform to these specifications. Of the two HDR gammas (perceptual quantization (PQ) or Hybrid
Log-Gamma (HLG)), Picture Profile uses HLG. As for gamut, the same specification in BT.2020 standards for 4K/8K TV
is adopted in BT.2100. However, for consistency with other cameras and functions, it is described as BT.2020.
Advantages of shooting in HDR

Only a very narrow range of brightness provides suitable exposure for conventional SDR, so SDR movies may lack
detail in highlights or shadows (be over- or underexposed). In contrast, a broader range of brightness provides suitable
exposure for HDR movies, and the wide dynamic range makes these movies less likely to look over- or underexposed.
Even scenes with suboptimal exposure are less likely to have problems, and scenes that were difficult to shoot optimally
with automatic exposure (AE) will generally look fine with HDR. From another perspective, by capturing brighter or
darker scenes, for example, you can control brightness as an element of your movie's mood. Knowing this will help you
take full advantage of the creative potential of HDR.
Controlling exposure as you shoot usually requires you to check the video level on a waveform monitor. Without one, you
can use the camera's built-in zebra function, or the zebra indicator, which shows the zebra setting level on a histogram.
These are easy ways to check for overexposure in bright image areas.
To check HDR video, you will also need a display monitor compatible with that format. Fortunately, [Gamma Disp. Assist]
enables convenient checking of HDR video on the camera monitor or viewfinder. This feature emulates an HDR monitor,
and although it is not intended for full HDR display, it reveals the details of your movies captured with HDR.
Note
For optimal playback of HDR movies recorded in [HLG/1/2/3] on a Sony camera via an HDMI cable, you will need to adjust the
picture quality settings of your Sony TV. In the picture quality settings on the TV, set the gamma to an option compatible with HLG
and set the color mode to an option compatible with BT.2020 or 709 according to the settings when shooting.
9
Color Space
Picture Profile uses the concept of a color space based on three dimensions; Hue, Saturation and Luminance.
This color space can be represented as a shape that resembles two cones joined at their bases. When you slice the
color space at a certain luminance level, a circular cross section appears. In this cross section, the angle from the circle’s
center line indicates hue, while the distance from the circle’s center represents saturation.
Because some color-related settings in Picture Profile use this color space concept, familiarizing yourself with this
concept will make it easier for you to understand how those settings should be used.
10
Gamut
While color space is a concept used to describe colors geometrically in a three-dimensional space, the area supported
by a device within this color space is called its gamut.
By determining three points – red (R), green (G), and blue (B) – that a device supports within an XYZ space as shown
here, we can plot an RGB triangle with the points as vertices. Through additive color mixing of R, G, and B, the device
can reproduce all colors in the RGB triangle. An area like this, enclosed by the RGB triangle, is the device's gamut.
For cameras, displays, and other imaging devices, gamuts vary depending on the characteristics of the components and
image processing circuits. Devices with wider gamuts can reproduce more saturated colors.
Commonly used gamuts include ITU-R BT.2020, DCI-P3, and ITU-R BT.709.
When shooting in S-Log3, you can choose either S-Gamut3.Cine or S-Gamut3 as the gamut.
S-Gamut3.Cine
Designed to resemble scanned negative film, S-Gamut3.Cine covers a slightly wider area than DCI-P3, for easy post-
production editing. This makes color correction for DCI-P3 applications easier than with S-Gamut3.
S-Gamut3
S-Gamut3 covers an even wider area than S-Gamut3.Cine – the widest a camera can capture. S-Gamut3 is a good
choice for conversion to ACES or ITU-R BT.2020 and is ideal for archiving purposes.
11
Detail
Detail
The Detail function processes video signals to emphasize image outlines. It can be used to make the subject stand out
clearly and enhance the fineness of the overall image. The function also influences the image texture, affecting the
rendering of coarseness and translucence, for example. Detail is also a very important image setting function when
shooting people. This function can change the atmosphere of the person depicted by determining the way face wrinkles
and skin tones look. But used inappropriately, the Detail function may lead to a loss of image texture or highly visible
image noise. By understanding the principles of detail signal processing as shown below, you should be able to use this
function effectively.
Concept of Detail
Detail is a type of signal processing that emphasizes image edges. In the example below, there is a large luminance
variation between the lace pattern and the background. In the charts below, whose vertical axes represent luminance, (a)
shows the change in luminance levels in the image section inside the red square. The Detail function generates (b) from
(a). (b) serves as the basis of the detail signal and combines with (a). The resulting (c) represents (a) with the detail
signal applied, emphasizing both the white and black edges in the image.
12
Log shooting
Log shooting can be divided into three methods: “Flexible ISO,” “Cine EI,” and “Cine EI Quick.” The differences between
normal movie shooting and each Log shooting mode are as follows.
Available functions vary by camera model.

On models without a [Log Shooting Setting] menu, you can use the S-Log shooting options (PP7, PP8, or PP9) in
[Picture Profile] for S-Log shooting.
Log
Normal movie Log shooting: Cine EI
Item shooting: Log shooting: Cine EI
shooting Quick
Flexible ISO
Type of shooting ITU709/BT.2020 Log Log Log
ISO Shooting with EI Shooting with EI

ISO sensitivity/EI ISO sensitivity sensitivity (The ISO sensitivity for (The ISO sensitivity for
(Exposure Index) can be adjusted can be recording is locked to recording is locked to
adjusted Base ISO) Base ISO)
Set automatically
Base ISO ― ― Setting is required
according to the EI
Amount of freedom of
color grading in post- Low Middle High High
production
Related Topic
Flexible ISO
Cine EI
Cine EI Quick
What is Base ISO?
13
Flexible ISO
Log shooting in the Flexible ISO mode provides freedom in setting the ISO sensitivity, just as in normal movie recording.
You will finalize your work in color grading during post-production.
The exposure can be adjusted by setting the ISO sensitivity at the time of shooting. There is no need to consider
brightness based on the exposure index (EI), as required for Cine EI or Cine EI Quick.
14
Cine EI
You can follow a log shooting workflow that resembles a film camera workflow.
Recording at the base ISO enables you to take full advantage of the image sensor performance. You can capture
material that withstands color grading better, without becoming degraded.
Two base ISO options are available, for low or high sensitivity. Choose a base ISO to suit the scene you are shooting.
The exposure index (EI) can be set in a ±2 EV range relative to your base ISO. In general, shooting at an EI equal to or
lower than the base ISO value is recommended.
Depending on the EI, you can record by changing the balance of latitude between highlights and shadows. By allowing a
wider latitude in shadows when shooting dark scenes and a wider latitude in highlights when shooting bright scenes, you
can ensure that the final image will look better, with less noise. You can emphasize gradation in highlights when shooting
at a higher EI, far from the same value as the base ISO, but this will increase noise and graininess, and color grading will
become more difficult.
Depending on the EI set as you monitor images at the time of shooting, you can use the Catalyst Prepare Plugin in post-
production to reproduce the appearance as monitored.
Example of how EI value affects exposure latitude (for base ISOs of 800 and 4000 ISO)
Related Topic
What is Base ISO?
15
Cine EI Quick
You can follow a log shooting workflow that resembles a film camera workflow.
Recording at the base ISO enables you to take full advantage of the image sensor performance. You can capture
material that withstands color grading better, without becoming degraded.
Two base ISO options are available, for low or high sensitivity. Unlike in the Cine EI mode, the base ISO is set
automatically according to your specified exposure index (EI).
Depending on the EI, you can record by changing the balance of latitude between highlights and shadows. By allowing a
wider latitude in shadows when shooting dark scenes and a wider latitude in highlights when shooting bright scenes, you
can ensure that the final image will look better, with less noise. You can emphasize gradation in highlights when shooting
at a higher EI, far from the same value as the base ISO, but this will increase noise and graininess, and color grading will
become more difficult.
Depending on the EI set as you monitor images at the time of shooting, you can use the Catalyst Prepare Plugin in post-
production to reproduce the appearance as monitored.
Example of how EI value affects exposure latitude (for base ISOs of 800 and 2500 ISO when [Base ISO Switch EI]
is set to 1600EI)
Related Topic
What is Base ISO?
16
What is Base ISO?
Base ISO refers to the ISO sensitivity providing maximum latitude from the image sensor. At this ISO sensitivity, gain is
not added needlessly to output signals from the sensor. This level of ISO sensitivity provides maximum performance
from a camera's image sensor.
For example, when an image sensor with a latitude of up to 15 stops produces a 15-stop signal at the base ISO,
increasing the gain or ISO sensitivity would prevent highlight information from being recorded, because it would not fit
within this latitude.
Shooting at the base ISO is required in log shooting in order to obtain maximum latitude.
Models with multiple base ISOs enable you to switch the base ISO to suit the shooting conditions.
17
You can adjust the amount of exposure latitude allocated to highlights or shadows by changing the exposure index (EI)
when shooting in the Cine EI mode or Cine EI Quick mode
The brightness of images monitored during shooting varies depending on the EI setting. By knowing as you shoot
whether you will need more freedom in post-production editing for bright or dark scenes, you can adjust the EI
accordingly.
For example, to have more editing freedom in dark scenes, set the EI lower than the base ISO. After this, shoot so that
the image you are monitoring has the correct exposure. By reducing the gain for this material in post-production, you will
have greater flexibility to edit dark scenes.
The EI setting at the time of shooting can be embedded in the metadata of recorded video files, which can enable
Catalyst Browse/Catalyst Prepare or the Catalyst Prepare Plugin to add or reduce gain automatically when material is
imported in post-production.
EI can only be set in the Cine EI mode or Cine EI Quick mode.

To record with the least noise and most exposure latitude from the camera, shoot at the same EI as the base ISO.
ISO sensitivity for recording corresponds to the base ISO, regardless of any changes to the EI.
Related Topic
Cine EI
Cine EI Quick
18
Using LUTs in shooting
Look-up tables (LUTs) are used in image color conversion.
Log gamma movies are harder to monitor at the time of shooting because they have lower contrast than usual. For
normal contrast and clearer display on the monitor or viewfinder, you can apply a LUT at the time of shooting. This is
helpful in subject checking, focusing, and other precise camerawork. It also makes it easier to visualize from the shooting
stage how your work will look after color grading.
LUTs applied at the time of shooting can be embedded in the metadata of recorded video files, so you can also use them
in post-production.
Besides the preset LUTs, you can import your own LUTs (in the .cube format) to your camera.
Available LUTs
LUT Description
Appearance of S-Log3 with ISO/EI applied

S-Log3
Choose this option if you will apply the LUT externally.
s709 Film-like color tones and color reproduction, with low contrast
709
Color reproduction and high contrast suitable for TV broadcasting
(800%)
Up to 16 LUTs can be imported.

User
Only LUTs for conversion from S-Gamut3.Cine/S-Log3 or S-Gamut3/S-Log3, corresponding to the
LUT
recorded material, are supported.
Related Topic
19
With Flexible ISO, Cine EI, or Cine EI Quick, material is recorded with S-Log3, but by using a Sony viewer (Catalyst
Browse*1 or Catalyst Prepare*1) or the Catalyst Prepare Plugin in post-production, you can reproduce the monitoring
conditions at the time of shooting from metadata embedded in the video file (by applying an exposure index and LUT*2).
*1 Supported as of version 2022.1
*2 Only with [Embed LUT File] under [Log Shooting Setting] set to [On].
Applying the LUT that was used for monitoring during shooting to the movie
When you shoot movies with [Embed LUT File] under [Log Shooting Setting] set to [On], the LUT file (A) is embedded in
the movie file as illustrated below. In addition, the LUT file (B) is also saved on the recording media as a separate file in
the directory "M4ROOT/GENERAL/LUT."
When the post-production tool supports the Catalyst Prepare Plugin:

The LUT file (A) embedded in the movie file is automatically imported.
When the post-production tool does not support the Catalyst Prepare Plugin:
The LUT file (B) saved on the recording media can be imported manually.
Note
When [Embed LUT File] is set to [Off], the LUT file is not embedded in the movie file and not saved on the recording media.
20
Picture Profile is a menu for adjusting and changing parameters that determine an image’s characteristics. There are
many parameters that can be adjusted, but they can be grouped into the following 4 types:
Parameters for selecting basic contrast and color tone

Parameters for adjusting gradation (darkness-brightness tone)
Parameters for adjusting coloring
Parameters for emphasizing image edges
Select [Picture Profile] → the profile you want to change, and you can directly enter the Picture Profile setting mode.
Supporting professional-grade setting items, the Picture Profile menu allows you to change a variety of settings, such as
Gamma Curve, Color and Detail. Multiple sets of setting combinations can be stored in the internal memory as PP1,
PP2, PP3, etc.
Adjustable settings may vary depending on your camera.
Using Picture Profile presets

A camera with the Picture Profile function is equipped with several Picture Profile presets as a default setting. By using
these presets, you can match the image texture with other types of cameras equipped with the [Picture Profile] function,
or create an image texture that is similar to that of cinematic film.
Picture Profile presets
Example setting using the [Movie] gamma

PP1 (Standard setting for movies when not using Picture Profile)
Example setting using the [Still] gamma

PP2 (Standard setting for still images when not using Picture Profile)
PP3 Example setting for natural color tone using the [ITU709] gamma
PP4 Example setting for a color tone faithful to the ITU709 standard
PP5 Example setting using the [Cine1] gamma
PP6 Example setting using the [Cine2] gamma
Recommended setting for shooting with the [S-Log2] gamma.

PP7 This preset is a combination of the [S-Log2] gamma and the [S-Gamut] color mode.
Recommended setting for shooting with the [S-Log3] gamma and the [S-Gamut3.Cine] color mode.
PP8 This preset is a combination of those two configurations.
Recommended setting for shooting with the [S-Log3] gamma and the [S-Gamut3] color mode.
PP9 This preset is a combination of those two configurations.
PP10 Example setting using the [HLG2] gamma and the [BT.2020] color mode
PP11 Example setting using the [S-Cinetone] gamma and the [S-Cinetone] color mode
21
When you shoot images using the S-Log gamma on models without a [Log Shooting Setting] menu, select among
the PP7, PP8, and PP9 presets for shooting.
When you shoot images using the S-Log3 gamma with Picture Profile on a model with a [Log Shooting Setting]
menu, configure the settings as follows.
To shoot with colors equivalent to PP8
Gamma: S-Log3, Color mode: S-Gamut3.Cine, Detail level: -7
To shoot with colors equivalent to PP9

Gamma: S-Log3, Color mode: S-Gamut3, Detail level: -7
Differences from image processing using grading software or nonlinear video editing software
Picture Profile adjusts colors and the vividness of the image during recording. You can make similar adjustments by
using grading software or nonlinear editing software after shooting. But there are the following differences.
To fit massive amounts of image data in a limited memory capacity, a camera compresses image data when recording.
No matter how advanced a compression format is, any data compression inevitably deteriorates image quality
somewhat. Applying sharpness, gamma curve correction and other video effects to recorded images worsens the image
condition further by processing already deteriorated images. For example, if video compression leaves the image with
poor contrast or block noise in some areas, applying video effects often make the problems more noticeable.
Because Picture Profile processes video signals before compressing, it changes the gamma curve and corrects colors
before image quality is damaged by compression. This makes it possible to carry out highly precise image adjustments
while keeping the quality of the subject intact. It should also be noted that recording images with proper contrast is
crucial. If image contrast in dark and bright areas is not adjusted properly during recording, this will result in
underexposed dark and overexposed white areas with no gradations. This means you will be unable to change image
contrast properly during the post-production process no matter how hard you try because there will be no gradations to
work with.
Grading software and nonlinear editing software are very powerful tools, but cannot fix everything. If you adjust various
settings using Picture Profile to make sure your video is recorded in a way that matches your ideal as much as possible,
you will be able to create a video that will be closer to what you have in mind with minimal processing via grading
software or nonlinear editing software.
What to do with Picture Profile

If you are working on a project with ample time for post-production or a short piece, record an image that is as flat as
possible under the assumption of various post-processing and color adjustments. Doing so will allow you to process or
edit images more effectively in the post-production process. S-Log shooting (shooting using S-Log2 and S-Log3 gamma)
is a simple way to make this possible.
If you are working on a project with a tight deadline or a long piece, on the other hand, you can dramatically reduce the
amount of post-production image processing and enable highly efficient production by recording the video as close to the
vision of the finished image as possible. Showing the image being recorded to the director and crew as close to the tone
of the ideal finished image as possible on a display monitor will greatly boost morale on the scene, which has a major
impact on the quality of the finished work. In order to take advantage of post-production image processing, as well as to
create pieces with mobility, try to make full use of Picture Profile in your creations.
Hint
There is also a function called “Creative Style” or “Creative Look,” which is similar to Picture Profile. Either function can be used
for both shooting movies and still images, but Picture Profile is designed to be used for shooting movies and “Creative Style” or
”Creative Look” is mainly for shooting still images. For details on “Creative Style” or ”Creative Look,” refer to the Help Guide for
your camera model.
22
Setting basic contrast/coloring (Gamma/Color Mode)
Available Picture Profile setting items and options may vary depending on camera specifications.
The basic contrast and coloring are defined by the combination of [Gamma] (gamma curve) and [Color Mode] (color
characteristics) settings.
Gamma
Movie Standard gamma curve for video
Still Standard gamma curve for still images
S- Gamma curve designed to achieve cinematic gradations and color expressions. This setting enables
Cinetone shooting with softer color reproduction ideal for portrait shooting.
Softens the contrast in darker image areas and emphasizes gradation changes in lighter image areas,
producing a subdued tone overall (equivalent to HG4609G33)
Gamma curve that obtains a dynamic range of 460% when the exposure is adjusted to 33% video output
Cine1 with 18% reflectance gray. The maximum value of video output is 109%.
Images shot with this gamma can be used without grading, but since the images have smooth gradation
characteristics, this can be used to grade and finalize the viewed image in the post-production process.
Similar results to [Cine1] but optimized for editing with up to 100% video signal (equivalent to
HG4600G30)
Cine2 Gamma curve that obtains a dynamic range of 460% when the exposure is adjusted to 30% video output
with 18% reflectance gray. The maximum value of video output is 100%.
Stronger contrast between dark and light image areas and greater emphasis on black gradation changes
Cine3
(compared to [Cine1])
Cine4 Stronger contrast than [Cine3] in darker image areas
ITU709 ITU709 gamma curve (low-light gain of 4.5)
ITU709
Gamma curve for checking scenes recorded using [S-Log2] or [S-Log3]
(800%)
[S-Log2] gamma curve. This setting is selected when some grading work will be performed after
recording.
The exposure is set so that 18% reflectance gray video is output as 32%. Under these conditions, a
S-Log2
dynamic range of 1,300% is obtained with 90% reflectance white. The maximum value of video output is
106%.
S-Log3 [S-Log3] gamma curve with characteristics closer to those of film. This setting is selected when some
grading work will be performed after recording.
It allows for better reproduction of gradations in shadows and the mid-tone range than S-Log2.
The exposure is set so that 18% reflectance gray video is output as 41%. Under these conditions, a
dynamic range of 1,300% is obtained with 90% reflectance white.
As a characteristics of S-Log3, the dynamic range can be extended above 1,300%. However, Picture
Profile is set to a dynamic range of 1,300% in order to maintain a balance with camera performance.
Under these conditions, the maximum value of video output is 94%.
23
HLG HDR gamma curve. Characteristics correspond to the ITU-R BT.2100 HDR standard.
HDR gamma curve. Reduces noise more than [HLG2]. However, shooting is restricted to a narrower
HLG1
dynamic range. Maximum video output level: 87%.
HDR gamma curve. Provides a balance of dynamic range and noise reduction. Maximum video output
HLG2
level: 95%.
HDR gamma curve. Wider dynamic range than [HLG2]. However, noise will be higher. Same dynamic
HLG3
range as [HLG]. Maximum video output level: 100%.
With HLG 1–3, movies will not look unnatural compared to conventional SDR movies, but you can take advantage of
the wider dynamic range for more expressive movies. They all offer a gamma curve with the same characteristics,
but each strikes a different balance between dynamic range and noise reduction.
24
Color Mode
Color tones for [Movie] gamma curve (standard color reproduction for movies when Picture Profile is
Movie
not used)
Color tones for [Still] gamma curve (standard color reproduction for still images when Picture Profile
Still
is not used)
S-Cinetone Color tones for [S-Cinetone] gamma curve
Cinema Color tones for [Cine1] and [Cine2] gamma curve
Color tones similar to standard Sony broadcast camera image quality (used in combination with
Pro
[ITU709] gamma curve)
ITU709 Matrix ITU709 color tones (used in combination with [ITU709] gamma curve)
Black & White Sets the saturation to 0 for recording in black and white
Setting based on the assumption that some grading work will be performed after recording. Used
S-Gamut
when [Gamma] is set to [S-Log2].
S- This setting is easier to use than [S-Gamut3], because it limits the gamut to a more practical
Gamut3.Cine range than that of [S-Gamut3]. It is recommended in cases where [S-Gamut3], a wide gamut, is
not required.
S-Gammut3 This setting has a wider gamut than that of [S-Gamut3.Cine]. It is suited for converting images to
a format with a wide gamut like BT.2020.
Depending on the type of camera, the entire [S-Gamut3] gamut may not be supported.
25
BT.2020 HDR color mode. Standard color tones when [Gamma] is set to any HLG option. Corresponds to the
gamut defined in the HDR standard ITU-R BT.2100. Only available when you select the gamma
curves mentioned above.
Color bar output may be inaccurate when [BT.2020] is selected, depending on camera
specifications.
HDR color mode. Color tones for recording in HDTV format (ITU-R BT.709) when [Gamma] is set to
709
any HLG option. Only available when you select the gamma curves mentioned above.
26
Adjusting contrast (Black Level/Black Gamma/Knee)
Black Level
This function adjusts the black level of the image.
Parameters Settings
Black Level –15 to +15
As an image effect, you can emphasize the color black to create an image that gives a powerful impression, or you can
weaken black to give the image a soft impression. Shifting Black Level in the minus direction emphasizes the black color
in the image, while changing the level in the plus direction weakens the black color.
If you want to simulate an old film, or capture winter morning fog, the black level value should be increased. If you
decrease the value, gradations in dark areas will be smoothed out, making the areas appear in crisp black.
When using multiple fixed cameras to shoot the same subject from different angles, the balance between subject and
background often varies. This balance variation may cause the black color in the subject to appear different when
cameras are switched. However, this is an optical illusion. If it occurs, you can correct it by adjusting Black Level to make
the black color look the same.
Black Gamma
This function lets you alter the shape of the selected gamma curve and adjust gradations in dark image areas.
Parameters Settings
Black Gamma > Range Wide / Middle / Narrow
Black Gamma > Level –7 to +7
[Range] controls the luminance range that Black Gamma influences. The [Narrow] setting keeps the range close to
black, while the [Wide] setting extends the range to gray. [Range] should be set narrower when you want to control the
quality of dark areas. If you want to adjust the overall image tone, [Range] should be set wider. At first, it may be a good
idea to start from the [Narrow] setting.
Increasing the [Level] value brightens the image, whereas decreasing the value makes the image darker. For example, if
you set [Range] to [Narrow] and decrease the [Level] value, you can create an image with dark areas that are similar to
the ones seen in films. Unlike Black Level, Black Gamma Level adjusts luminance subtly.
27
Black Gamma (+7)
28
Black Gamma (0)
Black Gamma (–7)
Knee
This function sets the knee point and slope for video signal compression to prevent over-exposure by limiting signals in
high intensity areas of the subject to the dynamic range of your camera.
First, select whether to set the knee point and slope automatically or manually in [Mode], and then adjust each setting.
Parameters Settings
Knee > Mode Auto / Manual
Knee > Auto Set > Max Point 90% to 100%
Knee > Auto Set > Sensitivity High / Mid / Low
Knee > Manual Set > Point 75% to 105%
Knee > Manual Set > Slope –5 to +5
29
Mode
Auto:
Automatically adjusts the knee based on what is selected in the following settings (when [Movie]* or [ITU709] is selected
in [Gamma]).
[Max Point] determines the maximum knee point level (white level). The knee slope is automatically adjusted
according to the Max Point setting. The standard is to keep it at 100%. A lower setting will turn white grayish, while a
higher setting will discard gradations in high luminance areas.
[Sensitivity] changes the luminance level at which the knee’s automatic adjustment starts. When set to [High], the
knee’s automatic adjustment starts at lower input signal levels than normal. When set to [Low], the knee’s automatic
adjustment starts at higher input signal levels than normal.
When a parameter other than [Movie]* or [ITU709] is selected in [Gamma], the gamma curve will not exceed the
White clip point and over-exposure rarely occurs. When [Mode] is set to [Auto] with these settings, the Knee function
is disabled. If you want to enable the Knee function, set [Mode] to [Manual].
* On some models, the [Movie] setting uses a gamma curve that does not exceed the White clip point. On these models, the Knee function is
disabled in [Auto].
Manual:
Sticks to settings based on the following selections.
[Point] sets the position of the knee point output level.
[Slope] determines the inclination of the knee slope.
A negative slope setting results in a gentler knee slope angle. This expands the dynamic range, but reduces the
ability to produce rich gradations. A positive slope setting makes the knee slope inclination steeper. This shrinks the
dynamic range, but bolsters the ability to express gradations. When [Slope] is set to +5, the Knee function is
disabled.
Set [Point] and [Slope] in [Manual Set] in combination. If you select a higher setting for [Point] and a gentler setting
for [Slope], you can obtain video-like sharp highlight effects. If softer film-like highlight effects are desired, select a
lower setting for [Point] and a steeper setting for [Slope]. In practical terms, move [Point] and [Slope] up and down in
opposite directions while checking the gradations in high luminance areas until you find the ideal settings.
30
Adjusting coloring (Saturation/Color Phase/Color Depth)
Saturation
This function adjusts the color saturation.
Parameters Settings
Saturation –32 (fainter in color) to +32 (richer in color)
A positive value results in more vivid colors, while a negative value presents faded colors. Saturation must be adjusted in
tandem with contrast. Bright and vivid settings produce video-like images, while dark and vivid settings result in film-like
images. The combination of bright and light creates pastel tones, whereas dark and light settings create artistic finishes.
Color Phase
This function adjusts the color hue.
Parameters Settings
Color Phase –7 (Greenish) to +7 (Reddish)
As you rotate the color wheel to the left (decreasing the set value) or to the right (increasing the set value), the colors
shift along the spectrum from red to yellow, green, cyan, blue, magenta and red. Because this affects all colors, it is
difficult to make specific adjustments exactly as intended. Use this function when matching coloring closely between
different cameras.
31
Color Depth
This function adjusts the luminance for each color phase. The luminance changes more drastically when the selected
color is richer (higher saturation). It does not change much at all when the color is achromatic.
Parameters Settings
Color Depth > R –7 to +7
Color Depth > G –7 to +7
Color Depth > B –7 to +7
Color Depth > C –7 to +7
Color Depth > M –7 to +7
Color Depth > Y –7 to +7
A higher set value lowers luminance while deepening the color. A lower set value increases luminance, making the color
look paler.
This setting does not only enhance the apparent vividness of colors, but also can express deep, dark colors.
Because each of the 6 colors — R (Red), G (Green), B (Blue), C (Cyan), M (Magenta), Y (Yellow) — can be adjusted
individually, you can apply this function to just the colors you want to emphasize.
32
R+
±0
33
R–
COLOR CORRECTION
Adjusts colors in your specified range. Used to alter color reproduction or create a certain effect, thorough special colors.
Parameters Settings
TYPE OFF / COLOR / REVISION / COLOR EXTRACT
MEMORY SELECTION 1 / 2 / 1&2
MEMORY1 COLOR PHASE / PHASE RANGE / SATURATION / ONE PUSH SET
MEMORY1 REVISION PHASE (–15 to +15) / SATURATION (–15 to +15)
MEMORY2 COLOR (Same setting items as MEMORY1.)
MEMORY2 REVISION (Same setting items as MEMORY1.)
TYPE
Choose the type of color correction.
OFF:
No color correction.
COLOR REVISION:
Corrects your specified colors.
COLOR EXTRACT:
Limits color display to image areas in your specified colors. All other image areas are displayed in black and white.
MEMORY SELECTION
Choose a color setting memory to apply.
1:
Only MEMORY1 settings are applied.
2:
Only MEMORY2 settings are applied.
1＆2:
Both MEMORY1 and MEMORY2 settings are applied.
34
MEMORY1 COLOR
Complete the color settings for MEMORY1. With [ONE PUSH SET], the [PHASE] setting is set automatically to match
the part of the subject centered in the center marker. [SATURATION] is set to 0. When you complete the color settings,
it's convenient to set [TYPE] to [COLOR EXTRACT] temporarily to check your specified colors, which are the only image
areas displayed in color.
MEMORY1 REVISION
Specify how to change the colors you set in MEMORY1, based on [PHASE] and [SATURATION]. These setting items
are only applied when [TYPE] is set to [COLOR REVISION].
MEMORY2 COLOR / MEMORY2 REVISION

To set MEMORY2, follow the same steps as for MEMORY1.
Note
Using the identical settings for both MEMORY1 and MEMORY2 doubles the effect of correction.
[COLOR CORRECTION] settings are retained even when the camera is turned off. However, each time you correct colors that
vary depending on the time, place, or weather, consider adjusting the settings.
Adjusting white balance or picture profile [WB SHIFT], [SATURATION], or [COLOR PHASE] settings after you set [COLOR
CORRECTION] will alter colors, which may affect the subject targeted for correction. In this case, set [COLOR CORRECTION]
again. For the same reason, we recommend setting a specific white balance, instead of using auto adjustment.
WB SHIFT
Set up white balance shift.
Parameters Settings
FILTER TYPE LB-CC / R-B
LB[COLOR TEMP] –9 (bluish) to +9 (reddish)
CC[MG/GR] –9 (greenish) to +9 (purplish red)
R GAIN –9 (lower R level) to +9 (higher R level)
B GAIN –9 (lower B level) to +9 (higher B level)
FILTER TYPE
Specify how white balance shift is applied.
LB-CC：
Film type (change color temperature and correct colors)
R-B：
Video type (correct R and B levels)
LB[COLOR TEMP]
Specify how to adjust the color temperature.
35
CC[MG/GR]
Specify how to correct colors.
R GAIN
Set the R level.
B GAIN
Set the B level.
36
Emphasizing image edges (Detail)
This function adjusts how much detail is applied to the subject’s image edges.
Because settings other than [Level] are quite complex, we recommend you start by adjusting only the [Level] setting first.
Parameters Settings
Detail > Level –7 (Weak) to +7 (Strong)
Detail > Adjust > Mode Auto / Manual
Detail > Adjust > V/H Balance –2 (Stronger Vertical (V) detail) to +2 (Stronger Horizontal (H) detail)
Detail > Adjust > B/W Balance Type1 (Higher proportion of black detail) to Type5 (Higher proportion of white detail)
Detail > Adjust > Limit 0 (Strongly restricted) to 7 (No restriction)
Detail > Adjust > Crispening 0 (No restriction) to 7 (Strongly restricted)
Detail > Adjust > Hi-Light Detail 0 (Smaller detail amount) to 4 (Larger detail amount)
Level
This function determines the strength of detail image processing to be applied.
If you apply too much detail, the subject’s original atmosphere may be undermined, as its translucence may be lost
or it may be given an unnatural luster. Excessive detail when shooting shiny leaves, for instance, may result in the
leaves looking as if they are made of plastic. It is also advisable to apply detail only modestly when shooting
paintings.
Because Detail makes image edges wider, the original texture of a subject consisting of very fine lines may be lost if
too much detail processing is applied. (Example: thin lace curtains)
Also, be aware that Detail may fatten up the edges of noise particles that appear under a high gain setting, and may
make such particles highly noticeable. In such cases, you can adjust the amount of detail processing on the noise
particles by using the [Crispening] function.
The image edges become more visible when viewed on large screens. It may be advisable to ease off on Detail if
you plan to view the image on large TVs or screens.
37
Detail: –
Detail: +
Mode
If you want to make finer adjustments to detail, set [Mode] in [Adjust] to [Manual] and adjust the following settings.
V/H Balance
This function regulates the balance between Vertical (V) detail and Horizontal (H) detail. Vertical (V) detail boosts image
edges by expanding them upward and downward. Horizontal (H) detail emphasizes image outlines by thickening them to
the left and right.
The results of detail processing may appear differently depending on the TV, computer display or other type of
display monitor. Adjust [V/H Balance] as needed.
To emphasize the impression of a subject that has many horizontal elements, such as a human face (with eyes and
mouth), you can increase the proportion of Vertical (V) detail by lowering the setting (selecting a lower set value).
B/W Balance
This function changes the balance between the amount of black detail for low-luminance areas and the amount of white
detail for high-luminance areas.
38
Limit
This function restricts the amount of black detail for low-luminance areas and white detail for high-luminance areas by
setting a maximum value. The maximum value cannot be set independently for black detail and white detail.
[B/W Balance] and [Limit] adjust the amount of black detail and white detail added to image edges.
Black detail adds the impressions of “power,” “hardness,” and “presence” to the subject. But it may bring undesirable
effects because it emphasizes wrinkles and pores.
White detail gives the subject a “clean” and “glossy” impression. You can increase the proportion of white detail and
reduce that of black detail when shooting jewelry and glass objects to heighten their clarity and translucence.
Crispening
This function reduces detail that accompanies visual noise to prevent noise from being emphasized.
You can use this function when you want to apply detail processing to the subject while keeping noise as unnoticeable as
possible.
Hi-Light Detail
This function adjusts the detail level for bright subjects.
You can use this to emphasize the edges of a bright subject in front of a high-luminance background.
39

Sony Log Guide

Uploaded by

Copyright:

Available Formats

Sony Log Guide

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Sony Log Guide

Uploaded by

Copyright:

Available Formats

Help Guide for Creators

For details, see “Shooting workflows in image production.”

Image Production Basics

Shooting workflows in image production

Gamma and Knee

Log shooting (models with a [Log Shooting Setting] menu)

What is Base ISO?

Using the Exposure Index in shooting

Using LUTs in shooting

Using metadata in post-production

What is Picture Profile?

Setting basic contrast/coloring (Gamma/Color Mode)

Adjusting contrast (Black Level/Black Gamma/Knee)

Adjusting coloring (Saturation/Color Phase/Color Depth)

Emphasizing image edges (Detail)

C-198-100-17(1) Copyright 2015 Sony Corporation

Shooting workflows in image production

Shooting workflow not based on color grading in post-production

Shooting workflow based on color grading in post-production

Log shooting methods vary by camera model.

C-198-100-17(1) Copyright 2015 Sony Corporation

Gamma and Knee

What is a gamma curve?

How the gamma curve’s shape influences images

Without knee correction

C-198-100-17(1) Copyright 2015 Sony Corporation

Sample image of a movie recorded using S-Log3

Sample image of a movie after grading (S-Log3)

Gamma Display Assist

C-198-100-17(1) Copyright 2015 Sony Corporation

What is dynamic range?

Advantages of shooting in HDR

C-198-100-17(1) Copyright 2015 Sony Corporation

C-198-100-17(1) Copyright 2015 Sony Corporation

C-198-100-17(1) Copyright 2015 Sony Corporation

C-198-100-17(1) Copyright 2015 Sony Corporation

Available functions vary by camera model.

Type of shooting ITU709/BT.2020 Log Log Log

ISO Shooting with EI Shooting with EI

C-198-100-17(1) Copyright 2015 Sony Corporation

C-198-100-17(1) Copyright 2015 Sony Corporation

C-198-100-17(1) Copyright 2015 Sony Corporation

C-198-100-17(1) Copyright 2015 Sony Corporation

What is Base ISO?

C-198-100-17(1) Copyright 2015 Sony Corporation

Using the Exposure Index in shooting

EI can only be set in the Cine EI mode or Cine EI Quick mode.

C-198-100-17(1) Copyright 2015 Sony Corporation

Using LUTs in shooting

Look-up tables (LUTs) are used in image color conversion.

Appearance of S-Log3 with ISO/EI applied

Up to 16 LUTs can be imported.

C-198-100-17(1) Copyright 2015 Sony Corporation

Using metadata in post-production

When the post-production tool supports the Catalyst Prepare Plugin:

C-198-100-17(1) Copyright 2015 Sony Corporation

What is Picture Profile?

Parameters for selecting basic contrast and color tone

Using Picture Profile presets