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what is up people dunna here and today
i've made a bit of a breakthrough and
i'm very excited to share with you guys
the secret that i found that's going to
make dealing with s log so much easier
and it's super simple but first let me
explain about two years ago I picked up
the Sony a 65 hundred upgrading from the
sony a6000 and i made a video about the
ten features that i was most excited
about one of those things was the fact
that i was going to get access to these
sony picture profiles most notably s log
two which increases your dynamic range a
whole bunch wind shooting video now if
you're not sure what that means
basically if you're shooting a scene
that has really bright brights like this
light back here and really dark darks
like my shirt then you're gonna be able
to capture both of those and when we're
capturing it it looks more like a
reduction in contrast so everything kind
of looks flat and gray and then when
you're editing it you can pull all of
that back but the important part is that
it's capturing all of that information
so you get to decide if you're gonna
push those blacks back down or if you're
gonna push those whites back up to being
white but here's the issue when I got
that a 6500 and I started to shoot in s
hug I just hated it so much with the
file sizes and file types that you're
dealing with in the Sony cameras I just
found that it was really difficult to
work with the s log2 footage the idea of
shooting an s log for me was actually so
that I would have more control
afterwards but when I actually went to
push the footage around where I wanted
it to go it just started to fall apart
so basically after a couple of weeks of
trying it and trying a bunch of
different things I basically gave up on
s log but I was always interested in how
I could try and make s log work let me
show you a quick example of the problems
that I've been having with s log two
footage okay so we're looking at the
plane s log version it's super flat it's
super d saturated let's just crank up
the saturation so we can see what's
going on with the colors I'm gonna crank
it up and then we're gonna zoom in here
we're gonna take a look right here this
is where I notice it the most for
whatever reason you see all this crazy
blotchy there's like pink and then green
this is exactly what I'm talking about
and even if I back off the saturation a
little bit you can still see it in there
so it's happening right off the bat I
know my skin isn't perfect but it's
definitely not like that okay so if we
do that and then we go over to the clip
that has my fix on it right away it
looks like a more consistent color and
then if we crank up the saturation you
can see that it's a nice even color
there's none of that kind of blotchiness
that we saw in the other one now again I
can crank it up so that it's super
oversaturated and you can tell that it's
just nice and even I'm looking a little
crazy but you're a little too much spray
tan there denna
but even if I go back and you're looking
at it not zoomed in you can see this
like splotchy kind of difference in
color it's almost like this isn't
getting saturated like it's so D
saturated to start with that there is no
color to find in there now maybe I'm
missing something because I see other
people using s log too and they seem to
enjoy it and seem to have no problem
with it but for whatever reason I
couldn't get it to work for me so leave
a comment down below if you think that
I'm just totally missing something but
the way that my brain works is that I
wanted to fix it so recently I had a
little bit of time and I did some
experiments and I managed to get this to
look like this by changing a simple
setting inside the camera alright so
we're back in this corner we've got
basically that same shot setup again as
you can see and if you're looking at the
screen you can see that I'm in s log2 so
it's super flat super desaturated this
is just the standard s log2 so I'm
talking about no modifications
whatsoever we're just on picture profile
seven the one that comes in the camera
now there are a couple of ways that I've
heard people talk about exposing s log
to theirs exposing two stops over those
kinds of things the two main ways that
I've basically heard is that you want to
set your Zebras up and you want to max
out at 107 so anything that's going over
107 is going to be permanently clipped
so trying to keep everything under that
or you're going to set your subject
which if it's a human the skin should be
around 70 Ayari now personally I like
the 70 I re but we'll test both ways
here so
I'm gonna go into my zebras and I'm
gonna choose 70 and now you should be
able to see that on the side of my face
there's a little bit of zebras going on
now I've exposed it under a little bit
like I could make it so that the whole
side of my face has the Zebras going on
but then I'm blowing out the window
pretty hard so I'm gonna back that off
just a little bit we're gonna go down to
the base is o on the 6,600 in s log
which is 500 now we've got this shot
let's now do it the other way where
we're trying not to clip at all so I'm
gonna change my zebra level to lower
limit of 107 so we can see what exactly
is clipping and then I'm gonna have to
mess with my aperture to get it so that
we're not clipping at all that got rid
of it and let's try that for a couple of
seconds okay so we've got our standard s
log footage the stuff that I've been
having trouble with forever and now I'm
gonna make that one little change that's
gonna make it so much easier but first
let me explain kind of why I came to
this result to my understanding there
are two main things happening when you
go into s log the contrast is being
reduced so that it can capture more
dynamic range and the saturation is
being reduced significantly as well now
what I really want to get out of a slog
to is an increased dynamic range so
that's really the catch I do want it to
reduce the contrast but I don't
necessarily need it to reduce the
saturation and the problem that I'm
having in the end is the fact that on
Sony with 8-bit and for 200 I can't seem
to push the colors around enough to get
that back I'm having that weird little
blotchy problem so within my picture
profile what I'm gonna do is I'm going
to go in I'm gonna leave everything
standard except I'm gonna go down to
saturation and I'm gonna bump it all the
way to plus 32 now when you're in s log
and s gamut it's already so d saturated
that when I push it all the way up to
plus 32 it's still
as saturated as if you were just not
using a picture profile altogether but
in my experience so far because I don't
have to push the saturation up so much
when I go to color grade the footage I
don't get nearly as much of that
blotchiness and problems that I was
having in the colors let's try it on my
function button here and then I'm going
to go into my picture profile I'm gonna
go over this is hard to do backwards I'm
gonna go down to my saturation and I'm
gonna crank it up all the way to 32 you
can still see that we're very d
saturated we've lost a little bit of
light so I had to crank up the ISO just
a little bit but I've got that same
zebra on the left-hand side where the
light is coming in through the window so
we should be able to get about the same
kind of results so we'll try this one
first and then we'll try it the other
way where we go to 107 and we make sure
we're not clipping anywhere okay
no clipping I look very dark all right
let's get this footage into the computer
and we'll see if we can make this whole
thing work again
alright so we got fresh footage in here
these are the new ones that we just took
so this one here is the regular s log
the picture profile seven this one is
the modified one with the increased
saturation let's see if we can replicate
what we had before so let's crank up the
saturation you can see we've got that
same problem a little bit of a different
area this time but same issue we've got
this like splotchy red color noise or
something and even up into my beard you
can see it all my skin does not look
like that so with the fix applied so
this is the one with the increased
saturation in the camera we cranked it
up there might still be a little bit of
it happening but you can tell that it's
a lot less and obviously this is again
like super oversaturated
now in regards to the other ones where
we exposed to attempt not to blow out
the highlights in the window I'm finding
that it's just way too dark on this side
it's it's pretty much unsalvageable I
would much rather blow out the
highlights in the window and make sure
that my face is a little bit more
exposed or you just add a light on to
this side or some kind of a reflector or
something like that so that you don't
have this problem unless you're going
for something super movie but ignoring
the exposure for now if we do the same
thing with the saturation cranked it up
there - then we zoom in even though it's
a little darker you can see on my face
we got all sorts of different kind of
splotchiness now if we go over to the
other test shot significantly
underexposed in my opinion kind of
unusable because you'd have to bring up
all this noise and we saturate a whole
bunch that gross blotchy splotchiness is
way way less in this one than it was in
the other one like if we've matched the
kind of saturation level you can see in
my face it's crazy and this one it's a
lot more kind of even so now if you want
to throw a lot or something on that
you're gonna have to make sure that
before you do you just dial back the
saturation this is just the sony
provided s la glut and it looks pretty
good before after
let's try and do that same thing to this
one and again same LUT we've got that
gross kind of blotchiness so if you have
some lots or something for s log
they'll probably actually work better
with this method but you have to make
sure that you dial back the saturation
so after all that time I can finally
confidently shoot in s log - and get all
that dynamic range back it's just nice
to have as an option I don't need it all
the time but it's just nice that it's
there and it makes a huge difference
that I feel like I can actually color
grade it now hopefully this helps some
of you guys - to make your s log footage
better if you have any other tips or
tricks that you think I should know
about make sure to leave them down in
the comment section below and on your
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thank you so much for watching and I'll
see you next time
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