Tag Archives: S-Log

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Choosing the right gamma curve.

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One of the most common questions I get asked is “which gamma curve should I use?”.

Well it’s not an easy one to answer because it will depend on many things. There is no one-fits-all gamma curve. Different gamma curves offer different contrast and dynamic ranges.

So why not just use the gamma curve with the greatest dynamic range, maybe log? Log and S-Log are also gamma curves but even if you have Log or S-Log it’s not always going to be the best gamma to use. You see the problem is this: You have a limited size recording bucket into which you must fit all your data. Your data bucket, codec or recording medium will also effect your gamma choice.

If your shooting and recording with an 8 bit camera, anything that uses AVCHD or Mpeg 2 (including XDCAM), then you have 235 bits of data to record your signal. A 10 bit camera or 10 bit external recorder does a bit better with around 940 bits of data, but even so, it’s a limited size data bucket. The more dynamic range you try to record, the less data you will be using to record each stop. Lets take an 8 bit camera for example, try to record 8 stops and that’s about 30 bits per stop. Try to extend that dynamic range out to 11 stops and now you only have about 21 bits per stop. It’s not quite as simple as this as the more advanced gamma curves like hypergammas, cinegammas and S-Log all allocate more data to the mid range and less to highlights, but the greater the dynamic range you try to capture, the less recorded information there will be for each stop.

In a perfect world you would choose the gamma you use to match each scene you shoot. If shooting in a studio where you can control the lighting then it makes a lot of sense to use a standard gamma (no knee or knee off) with a range of up to 7 stops and then light your scene to suit. That way you are maximising the data per stop. Not only will this look good straight out of the camera, but it will also grade well provided your not over exposed.

However the real world is not always contained in a 7 stop range, so you often need to use a gamma with a greater dynamic range. If your going direct to air or will not be grading then the first consideration will be a standard gamma (Rec709 for HD) with a knee. The knee adds compression to just the highlights and extends the over-exposure range by up to 2 or 3 stops depending on the dynamic range of the camera. The problem with the knee is that because it’s either on or off, compressed or not compressed it can look quite electronic and it’s one of the dead giveaways of video over film.

If you don’t like the look of the knee yet still need a greater dynamic range, then there are the various extended range gammas like Cinegamma, Hypergamma or Cinestyle. These extend the dynamic range by compressing highlights, but unlike the knee, the amount of compression starts gradually and get progressively greater. This tends to look more film like than the on/off knee as it tends to roll off highlights much more gently. But, to get this gentle roll-off the compression starts lower in the exposure range so you have to be very careful not to over expose your mid-range as this can push faces and skin tones etc into the compressed part of the curve and things won’t look good. Another consideration is that as you are now moving away from the gamma used for display in most TV’s and monitors the pictures will be a little flat so a slight grade often helps with these extended gammas.

Finally we come to log gammas like S-Log, C-Log etc. These are a long way from display gamma, so will need to be graded to like right. In addition they are adding a lot of compression (log compression) to the image so exposure becomes super critical. Normally you’ll find the specified recording levels for middle grey and white to be much lower with log gammas than conventional gammas. White with S-Log for example should only be exposed at 68%. The reason for this is the extreme amount of mid to highlight compression, so your mid range needs to be recorded lower to keep it out of the heavily compressed part of the log gamma curve. Skin tones with log are often in the 40 – 50% range compared to the 60-70% range commonly used with standard gammas.  Log curves do normally provide the very best dynamic range (apart from raw), but they will need grading and ideally you want to grade log footage in a dedicated grading package that supports log corrections. If you grade log in your edit suite using linear (normal gamma) effects your end results won’t be as good as they could be. The other thing with log is now your recording anything up to 13 or 14 stops of dynamic range. With an 8 bit codec that’s only 17 – 18 bits per stop, which really isn’t a lot, so for log really you want to be recording with a very high quality 10 bit codec and possibly an external recorder. Remember with a standard gamma your over 30 bits per stop, now were looking at almost half that with log!

Shooting flat: There is a lot of talk about shooting flat. Some of this comes from people that have seen high dynamic range images from cameras with S-Log or similar which do look very flat. You see, the bigger the captured dynamic range the flatter the images will look. Consider this: On a TV, with a camera with a 6 stop range, the brightest thing the camera can capture will appear as white and the darkest as black. There will be 5 stops between white and black. Now shoot the same scene with a camera with a 12 stop range and show it on the same TV. Again the brightest is white and black is black, but the original 6 stops that the first camera was able to capture are now only being shown using half of the available brightness range of the TV as the new camera is capturing 12 stops in total, so the first 6 stops will now have only half the maximum display contrast. The pictures would look flatter. If a camera truly has greater dynamic range then in general you will get a flatter looking image, but it’s also possible to get a flat looking picture by raising the black level or reducing the white level. In this case the picture looks flat, but in reality has no more dynamic range than the original. Be very careful of modified gammas said to give a flat look and greater dynamic range from cameras that otherwise don’t have great DR. Often these flat gammas don’t increase the true dynamic range, they just make a flat picture with raised blacks which results in less data being assigned to the mid range and as a result less pleasing finished images.

So the key points to consider are:

Where you can control your lighting, consider using standard gamma.

The bigger the dynamic range you try to capture, the less information per stop you will be recording.

The further you deviate from standard gamma, the more likely the need to grade the footage.

The bigger the dynamic range, the more compressed the gamma curve, the more critical accurate mid range exposure becomes.

Flat isn’t always better.

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Sound Devices Pix-240 Gets Free Upgrade to 3G 444 Recording. Perfect for the F3!

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pix-firmware-auroraThe latest free firmware release for the Sound Devices Pix240, called “Aurora” adds the ability to record 10 bit or even 12 bit ProRes444 RGB or YCbCr. Using the Pix240’s 3G HDSDI input this means that you can record the full 10 bit S-log RGB output of the Sony PMW-F3 (or the F5 if you want ProRes or DNxHD). This makes the PIX240 the cheapest portable recorder that can record the RGB output, previously the cheapest option was the Convergent design Gemini. Of course you must have the RGB option on your F3 for this to work, but with the prices of used F3’s at rock bottom (I’m looking for £5.5k for mine) a used F3 plus a PIX240 works out at about £8k ($13K) which really is a bargain for this quality of image. Full details on the firmware update are on the Sound Devices website. pix_240i_images_frontThe Pix240 is a good, solid and robust external recorder with a high quality monitor, XLR audio inputs and the ability to record to compact flash cards or SSD’s making it very versatile. It really is quite incredible how little you need to pay these days for top end image quality, more than good enough even for cinema release. I’ve shot several cinema commercials with my F3’s and they have always looked excellent when projected on a big screen.

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S-Log, Latitude, Dynamic Range and EI S-log. Or how to modify your exposure range with EI S-Log

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The big issue most people have when working with log and exposing mid grey at 38 is that when you look at it on a standard monitor without any lookup tables it looks underexposed. The assumption therefore is that it is underexposed or in some way too dark to ever look right, because that’s what people used to working with conventional gammas have become programmed to believe over many years from their experience with conventional gammas.

So, for confidence you add a lookup table which converts the log to a Rec-709 type gamma and now the image looks brighter, but as it now has to fit within Rec-709 space we have lost either some of our high end or low end so we are no longer seeing the full range of the captured image so highlights may be blown out or blacks may be crushed.
It’s important for people to understand the concept of gamma and colour space and how the only way to truly see what a camera (any camera) is capturing is to use a monitor that has the same gamma and colour space. Generally speaking lookup tables don’t help as they will be taking a signal with a large range and manipulating it to fit in a small range and when you do that, something has to be discarded. If you were to take an F3 set to S-log and expose mid grey at 38 and show that on one of the nice new Sony E170 series monitors that have S-log gamma and place that next to another F3 with Rec-709 shooting mig grey at 45% and a similar but conventional 709 monitor the lower and mid range exposures would be near identical and the S-log images would not look under exposed or flat. The S-log images however would show an extra 2 stops of dynamic range.

Furthermore it has to be remembered that log is log, it is not linear. Because of its non linear nature, less and less brightness information is getting recorded as you go up the brightness range. As our own visual system is tuned to be most accute in the mid ranges this is normally fine provide you expose correctly putting mid tones in the more linear, lower parts of the S-log curve. Start putting faces to high up the S-log curve and it gets progressively harder to get a natural look after grading. This is where I think a lot of people new to log stumble. They don’t have the confidence to expose faces at what looks like a couple of stops under where they would with a standard gamma, so they start bringing up the exposure closer to where they would with standard gamma and then have a really hard time getting faces to look natural in the grade. Remember that the nominal S-Log value for white is 68 IRE. Part of the reason for this is that above about 70 IRE the amount of compression being applied by log is getting pretty extreme. While there is some wriggle room to push your exposure above or below the nominal mid grey at 38 it’s not as big as you might expect, especially dealing with natural tones and overexposure.

If you do want to shift your middle grey point this is where the EI S-log function and a light meter comes into it’s own, it’s what it’s designed for.

First something to understand about conventional camera gain, dynamic range and latitude. The latitude and sensitivity of the F3 is governed by the latitude and sensitivity of the sensor, which is a little under 13 stops. Different amounts of gain or different ISO’s don’t alter the sensors latitude, nor do they alter the actual sensitivity, only the amount of signal amplification. Increasing the camera gain will reduce the cameras output dynamic range as something that is 100 IRE at 800 ISO would go into clipping if the actual camera gain was increased by 6db (taking the ISO to 1600) but the darkest object the camera can actually detect remains the same. Dark objects may appear brighter, but there is still a finite limit to how dark an object the camera can actually see and this is governed by the sensor and the sensors noise floor.

EI (Exposure Index) shooting works differently, whether it’s with the F3, F65, Red or Alexa. Let’s consider how it works with the PMW-F3. In EI S-Log mode the camera always actually outputs at 800 ISO from the A/B outputs. It is assumed that if your working with S-Log you will be recording using an external 10 bit recorder connected to the A/B outputs. 422 is OK, but you really, really need 10 bit for EI S-Log. At 800 ISO you have 6.5 stops of over exposure and 6.5 under when you shoot mid grey at 38 or expose conventionally with a light meter.
Now what happens when you set the camera to EI 1600? Understand that the camera will still output at 800 ISO over the A/B outputs to your external recorder, but also note that 6db gain (1 stop) is added to the monitor output and what you see on the LCD screen, so the monitor out and LCD image get brighter. As the cameras metering systems (zebras, spot meter, histogram) measure the signal on the monitor side these are also now offset by +6db or + 1 stop.
As the camera is set to EI 1600 we set our light meter to 1600 ISO. If we make no change to our lighting the light meter would tell us to stop down by one stop, compared to our original 800 ISO exposure.
Alternately, looking at the camera, when you switch on EI 1600 the picture gets brighter, your mid grey card would also become brighter by one stop, so If we use the cameras spot meter to expose our grey card at 38 again we would need to stop down the iris by one stop to return the grey card to 38 IRE (for the same light levels as we used for 800). So either way, whether exposing with a light meter or exposing using the cameras built in metering, when you go from EI 800 to EI 1600 for the correct exposure (under the same lighting) you would stop down the iris by one stop.
Hope those new to this are still with me at this point!
Because the cameras A/B output is still operating at 800 ISO and you have stopped down by one stop as that what the light meter or camera metering told you to do because they are operating at EI 1600, the A/B output gets darker by one stop. Because you have shifted the actual recorded output down by one stop you have altered you exposure range from the original +/- 6.5 stops to + 7.5 stops, -5.5 stops. So you can see that when working at EI 1600 the dynamic range now becomes + 7.5 stops and -5.5 stops. Go to EI 3200 and the dynamic range becomes +8.5 stops and -4.5 stops.
So EI S-log gives you a great way of shifting your dynamic range centre while giving you consistent looking exposure and a reasonable approximation of how your noise levels are changing as you shift your exposure up and down within the cameras dynamic range.
EI S-Log doesn’t go below 800 because shifting the dynamic range up the exposure range is less beneficial. Lets pretend you have an EI 400 setting. If you did use it, you would be opening up the iris by one stop, so your range becomes +5.5 and -7.5 stops compared to your mid grey or light metered exposure. So you are working with reduced headroom and you are pushing your mid range up into the more highly compressed part of the curve which is less desirable. I believe this is why the option is not given on the F3.

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Can I use 8 bit to record S-Log?

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My opinion is that while 8 bit, 422 can be used for S-Log, it is not something I would recommend. I’d rather use a cinegamma with 8 bit recording. 10 bit 422 S-log is another matter altogether, this is well worth using and works very well indeed. It’s not so much whether you use 444, 422 or maybe even 420, but the number of bits that you use to record your output.

What you have to consider is this. With 8 bit, you have 240 shades of grey from black to super white. of the 256 bits available, 16 are used for sync, white is at 235 and super white 256 so black to 100% white is only 219. With Rec-709, standard gamma, on an F3 you get about an 8 stop range, so each stop of exposure has about 30 shades of grey. When you go to S-Log, you now have around 13 stops of DR, so now each stop only has 18 shades of grey. Potentially using 8 bit for S-Log, before you even start to grade, your image will be seriously degraded if you have any flat or near flat surfaces like walls or the sky in your scene.

Now think about how you expose S-Log. Mid grey sits at 38% when you shoot. If you then grade this to Rec-709 for display on a normal TV then you are going to stretch the lower end of your image by approx 30%, so when you stretch you 18 steps of S-Log grey to get to Rec-709 you then end up with the equivalent of only around 12 shades of grey for each stop, that’s less than half of what you would have if you had originally shot using Rec-709. I’m sure most of us have at some point seen banding on walls or the sky with standard gammas and 8 bit, just imagine what might happen if you effectively halve the number of grey shades you have.

By way of a contrast, just consider that 10 bit has 956 grey shades from black to super white. the first 64 bits are used for sync and other data, 100% white is bit 940 and super white 1019. So when shooting S-Log using 10 bit you have about 73 grey shades per stop, a four fold improvement over 8 bit S-Log so even after shooting S-Log and grading to Rec-709 there are still almost twice as many grey shades than if you had originally shot at 8 bit Rec-709.

This is a bit of an over simplification as during the grading process, if your workflow is fully optimised you would be grading from 8 bit to 10 bit and there are ways of taking your original 8 bit master and extrapolating additional grey shades from that signal through smoothing or other calculations. But the reality is that 8 bits for a 13 stop dynamic range is really not enough.

The whole reason for S-Log is to give us a way to take the 14ish stop range of a typical linear 12 bit camera sensor and squeeze as much of that signal as possible into a signal that remains useable and will pass through existing editing and post production workflows without the need for extensive processing such as de-bayering or RAW conversion. So our signal which starts at 12 bits has already been heavily processed to get it from 12 bits to 10. Going from 10 bit down to 8 is a step too far IMHO.

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PMW-F3 Firmware V1.4 to include S-Log in Picture Profiles.

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Just a quick note from NAB that firmware version 1.4 for the PMW-F3 will include S-Log as a selectable gamma curve within the picture profiles. This will be a free update, due out some time before the end of June (it’s in beta now, the F3’s at NAB have it installed). S-Log will function in all F3’s whether you have the CBK-RGB option or not. However if you don’t have the RGB option you will not get any Look Up Tables, no EI-Slog and no 4:4:4 output, only 4:2:2.
This is a fantastic addition and by having S-Log as a gamma curve within the picture profiles you will be able to tailor many of the setting such as white balance, matrix and detail to suit the shooting condition.

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XDCAM Picture Profiles and setups, also C300 coming soon.

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I’ve added a new section in the xdcam-user.com forum for listing details of my various picture profiles. You will need to be a registered forum member to view or comment, but registration is free. I hope to add many profiles to this forum over the coming weeks for many of the XDCAM cameras as well as the new Canon C300 once I start to get that dialled in. I’ve started with my EX S-Log style gamma curve.

http://www.xdcam-user.com/forum3/viewtopic.php?f=41&t=194&sid=c233ea884673388efe1e1af8c2ef84c7

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Canon C-Log on the C300 compared to S-Log.

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First let me say that as yet I have not used C-Log in anger, only seen it at a couple of hands on demo events and in downloaded clips.

From what I’ve seen C-Log and S-Log are two quite different things. S-Log on the F3 is a true Log curve where each stop of exposure is recorded using roughly the same amount of data and the available dynamic range is about 13.5 stops. It is inevitable that when you use a true log curve like this and play it back on an uncorrected Rec-709 (standard HD gamma) monitor that it will look very flat and very washed out. This is a result of the extreme gamma miss-match across the entire recording range. If you had a monitor that could display 13.5 stops (most only manage 7) and the monitor had a built in Log curve then the pictures would look normal.

What has too be considered is that S-Log is designed to be used with 10 bit recording where each stop gets roughly 70 data bits ( this roughly means 70 shades of grey for each stop).

Now lets consider the Canon C300. It has no 10 bit out, it’s only 8 bit. Assuming Canon’s sensor can handle 13.5 stops then using 8 bit would result in only 17 bits per stop and this really is not sufficient, especially for critical areas of the image like faces and skin tones. A standard gamma, without knee, like Rec-709 will typically have a 7 stop range, this is a deliberate design decision as this yields around 34 bits per stop. As we know already if you try to do a hard grade on 8 bit material you can run in to issues with banding, posterisation and stair stepping, so reducing the bits per stop still further (for example by cramming 13.5 stops into 8 bits) is not really desirable as while it can improve dynamic range, it will introduce a whole host of other issues.

Now for some years camera sensors have been able to exceed 7 stops of dynamic range. To get around the gamma limitation of 7 stops, most good quality cameras use something called the knee. The knee takes the top 15 to 20% of the recording range to record as much as 4 to 5 stops of highlights. So in the first 0 to 80% range you have 6 stops, plus another 4 to 5 stops in the last 20%, so the overall dynamic range of the camera will be 10 to 11 stops.

How can this work and still look natural? Well our own visual system is tuned to concentrate on the mid range, faces, foliage etc and to a large degree highlights are ignored. So recording in this way, compressing the highlights mimics they way we see the world, so doesn’t actually look terribly un-natural. OK, OK, I can hear you all screaming… yes it is un-natural, it looks like video! It looks like video because the knee is either on or off, the image is either compressed very heavily or not at all, there is no middle ground. It’s also hard to grade as mid tones and highlights have different amounts of squashing which can lead to some strange results.

So the knee is a step forward. It does work quite well for many applications as it preserves those 34 bits of data for the all important mid tones and as a result the pictures look normal, yet gives a reasonable amount of over exposure performance. Next came things like cine gammas and film style gammas.

These often share a very similar gamma curve to standard gammas for the first 60-70% of the recording range, so faces, skin, flora and fauna still have plenty of data allocated to them. Above 70% the image becomes compressed, but instead of the sudden onset of compression as with a knee, the compression starts very gently and gradually increases more and more until by the time you get close to 100% the compression is very strong indeed. This tends to look a lot more natural than gamma + knee, yet can still cope with a good over exposure range, but depending on the scene it can start to look a little flat as your overall captured range is biased towards highlights, so your captured image contains more bright range than low range so will possibly (but not always) look very slightly washed out. In my opinion, if shooting with cinegammas or similar you should really be grading your material for the best results.

Anyway, back to the Canon C300. From what I can tell, C-Log is an extension of the cinegamma type of gamma curve. It appears to have more in common with cinegammas than true S-log. It looks like the compression starts at around 60% and that there is a little more gain at the bottom of the curve to lift shadows a little. This earlier start to the compression will allow for a greater dynamic range but will mean fewer bits of data for skin tones etc. The raised lower end gain means you can afford to underexpose more if you need to. As the curve is not a full log curve it will look a lot more agreeable than S-Log on an uncorrected monitor, especially as the crucial mid tone area is largely unaffected by strong compression and thus a large gamma miss-match.

For the C300 this curve makes complete sense. It looks like a good match for the cameras 8 bit recording giving a decent dynamic range improvement, largely through highlight compression (spread over more recording range than a conventional knee or cinegamma), keeping mid tones reasonably intact and a little bit of shadow lift. Keeping the mid range fairly “normal” is a wise move that will still give good grading latitude without posterisation issues on mid range natural textures.

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More Codec and Gamma Tests.

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More Gemini, Samurai, AC-Log and S-Log sample frame grabs. See download box at bottom of post.
I had thought, when I first wrote this post that I had discovered a strange issue where the 444 RGB recordings from the Gemini had more dynamic range than 422 recordings. I didn’t think this was right, but it was what my NLE’s (FCP and CS5.5) were telling me. Anyway to cut a long story short, what was happening was that when I dropped the Gemini RGB files into the timeline the levels got mapped to legal levels, i.e. nothing over 100% while the YCbCr 422 clips go into the timeline at their original levels. The end result was that it appeared that the 422 clips were clipping before the 444 clips. Thanks to Waho for suggesting that it may be a conversion issue with the frame grabs, I was able to see that it was simply the way the NLE’s (both CS5.5 and FCP were behaving in the same way) were clipping off anything in the 422 clips above 100% both in the frame grabs and also on the monitor output. As the RGB files were all below 100% they were not clipped so appeared to have greater dynamic range.

Anyway….. below is a new set of frame grabs layered up in a single photoshop file showing how the various codecs and recorders and codecs perform. The levels in these have been normalised at 100% to avoid any dodgy clipping issues. I’ve included F3 Cinegamma 4, plus my AC-Log picture profile, plus Samurai ProRes, Gemini S-Log and F3 Internally recorded S-Log of a very extreme contrast situation. Use the link below to download the photoshop layers file. You’ll need to me a registered user to access the link.

[downloads_box title=”More codec test grabs.”]
Photoshop Layered Frame Grabs v3
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S-Log on a non S-Log PMW-F3 and Log on an EX1/EX3

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Note: There is something up with the frame grabs. For some reason they are very dark. I’ll look into this in the morning and get some more accurate grabs online.

First of all let me say thanks to Ben Allan on CML list for getting me thinking about this. He has already started experimenting with creating a log style Picture Profile for the EX1. All the setting you’ll find here are my own work and based on tests done with real scenes and some dodgy home made latitude test charts 😉

Ben’s musings on CML made me consider what S-Log is. In essence it is nothing more than a clever gamma curve that allows you to capture a greater dynamic range than is normally possible with conventional gamma curves. The reason why the standard gamma dynamic range is normally constrained is in part simply because if you record too large a dynamic range and then show it on a conventional monitor or TV, it simply does not look right. So to make it look right it must be graded in post production. In order to do a significant grade in post, the quality of the recording has to be good enough to withstand a fair bit of pulling and pushing. As a result 10 bit recording is recommended (however it is still possible to work with lot with top quality low noise 8 bit recordings, not that I would recommend this). Anyway as both the standard PMW-F3 and EX1/EX3 have 10 bit outputs I decided to see if it was possible to come up with a picture profile that would mimic a Log curve and then see if it actually brings any real world advantage.

Genuine S-Log, mid grey @38%

First up I experimented with the F3. I already have the S-Log option, so this gave me a benchmark to work against. To mimic S-Log you need to increase the gamma gain at the lower end of the curve, you can do this with the Black Gamma function. I know that with S-Log the cameras native ISO is 800 as this is the sensitivity at which maximum dynamic range can be realised with the F3’s sensor. So I started my experiments at 800iso. I could bring up the shadow detail with the Black Gamma but I notice that I appeared to be trading off some highlight handling for shadow information, so while the images kind of looked like S-Log, they did not really gain any latitude.

AC-Log v1. Very similar to S-Log, same exposure as S-Log

During this process I realised that my mid range sensitivity was now a lot higher than with genuine S-Log, so I decreased the camera gain so I was now at 400iso and started tweaking again. Now with Black Gamma all the way up at +99 I was seeing around 1 stop further into the shadows, with no impact on highlight handling.

When I tested my new Picture Profile on a real scene, exposing as you would S-Log with mid grey at 38% I was very pleased to find some very similar images that do grade quite well. As well as the Gamma tweaks I also incorporated a few other changes into the profile to increase the overall grade-ability.

CineGamma 4, mid-grey at 38%

There is a definite improvement in shadow reproduction. It’s not as good as real S-Log, but it does give a very useful improvement for those without S-Log. One interesting point is that the exposure between the two log frame grabs posted here is not changed, so even though the camera is set at 400iso, when the picture profile is applied the camera behaves more like an 800iso camera and exposure should be set accordingly.  I think my PP (which you can download at the bottom of the page) brings a little under a one stop improvement in DR, real S-Log is about 2 stops.

If you click on the image captures you can view them full frame. When you compare the AC-Log and Cinegamma 4 images you should be able to see more shadow detail in the tree on the right of frame with the AC-Log yet the sky is further from clipping as well.

So what about the EX1 and EX3, can the same be done for them? Well this is much more of a challenge as the EX cameras are much noisier. Simply bringing up the Black Gamma does help you see into the shadows a bit better but it comes at the cost of a lot of extra noise and really makes it un gradable. Normally I don’t recommend using negative gain as it can reduce the dynamic range of the camera. But I figured if I use negative gain and then increase the gamma gain that should cancel out any dynamic range loss. To then avoid the usual -3db reduction in highlight performance I adjusted the overall gamma gain to return the peak output level to 109IRE. After a bit of fiddling around with my test charts and waveform monitors I could see that it was possible to gain a small amount of dynamic range, a little under 1 stop, however there is an overall increase in the noise level of about +4db. Now that doesn’t sound too terrible, but to gain the extra stop of DR you have to under expose compared to standard gamma’s, typically with S-Log you would put mid grey at 38% (use the centre spot meter on the EX1/EX3 and a grey card). This works reasonable well with this fake log picture profile. The problem however is that when grading you may find that you have to add still further gain to bring skin tones to a normal level and this will accentuate the noise. You could use something like the Neat Video plugging to reduce the noise and in this case I think this sudo Log picture profile could be handy in tricky lighting situations. The EX1R Log picture profile, to work correctly MUST be used in conjunction with -3db gain, any other gain setting and you will loose dynamic range. Again like real S-Log, 10 bit external recording is desirable, but why not play with the picture profile and try it for yourself. It is a bit experimental, I’m not convinced that the extra stop of DR is worth the noise penalty on the EX1R, but then I’m spoilt as I have an S-Log F3.

I have uploaded both the F3 and EX1R picture profiles into a single zip file that you can download below. You will need to have an account on xdcam-user.com to download them, or register for a new account first. Un-zip the package and copy the SONY folder to the root of an SxS card, so you should have both a BPAV folder and a SONY folder in the root directory. The cameras will need the latest firmware versions to load the single profile directly. In the Picture Profile menu choose an empty PP and then in the bottom PP menu chose “load”.

[downloads_box title=”F3 and EX1R Log Picture Profiles”]
F3 and EX1R Log like profiles
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Convergent Design Gemini throws up a ProRes Issue. NOT THE PROBLEM I THOUGHT IT IS

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OK, I wrote about this without digging deep enough. If you read the original article I claimed that ProRes was clipping my files at 104%. Well it’s NOT. The ProRes files are just fine, BUT some Quick Time applications are clipping the files at playback. In FCP the files are OK. Premiere appears to be reducing the level of the files a little and Quick Time player is clipping the files at approx 104. So this isn’t as big an issue as I thought, but you do need to keep an eye out as to what is happening with highlights and super whites depending on what software you are using. I was wondering why I hadn’t seen this before. In part it because I am no longer using FCP.