I’m not saying you can’t achieve great results, you definitely can, but it’s harder.
A simple exposure adjustment in S-Log2 usually requires a separate treatment of shadows, midtones, highlights and often contrast as well. Specifically you’ll find out that the shadows in S-Log2 just as highlights are more compressed and that they need separate treatment. So what does this practically mean? It means that when you are working with S-Log2 footage, most of your color grading controls like lift, gamma, gain, offset, contrast and many others do not really work as they were intended to work. I would really recommend you read this excellent blog post by Alister Chapman which covers pretty much all of the differences between S-Log2 and S-Log3 formats. Arri’s Log-C for example, just as Sony’s S-Log3 are both based on the Cineon curve characteristics. However, most color grading tools are really designed to work optimally with Cineon log curve, developed long time ago to allow digitising of film in 10 bit data. In theory this was a smart move by Sony as it would make it easier to match S-Log2 footage to other Sony cameras. While S-Log2 is an excellent container, it was designed to work with 14 stops of dynamic range and was optimised to match the characteristics of video sensors. It was paired with Sony’s S-Gamut which was specifically designed to encompass all of the colors that can possibly be created by Sony F65 sensor. You see S-Log2 was actually developed to be used in Sony’s F65 camera. To understand why S-Log2 footage is harder to grade we need to go back a bit.
“How can I make my S-Log2 footage easier to grade?” And it’s a good question indeed as it’s harder to grade S-Log2 footage than it is to grade S-Log3 or other log formats? But why? This is probably one of the more common questions we get asked.
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