S-LOG (G-LOG) for the SONY FS100 (updated)

What does a boy when alone at home? Right, he plays with his toys. I was musing over S-LOG for quite a while and was wondering if something similar – or at least S-LOGish – can be achived via the PP settings. So I looked at waveforms of S-LOG files out of the F3. I tried to match them – as close as possible with the FS100. Of course that isn´t real S-LOG but if handled right, it can be quiete pleasing. Well maybe I should call it G-Log with a “G” like in Glencairn 😉

Just a little teaser for the moment (with my own silly face)
Those JPEGs got converted to sRGB so they look a bit different – actually darker – as on a proper calibrated wide gamut monitor, but you get the idea.

Doubleclick on the pics to enlarge.

GlenColor PP1 ungraded

Glencolor PP1 graded

G-LOG ungraded

G-LOG graded

When I started to explore this, I wasn´t sure how those settings would behave in 8 bit space at a long GOP codec. So I recorded in the camera and uncompressed on a BlackMagic Deck at the same time. The differences are almost not there. Uncompressed is a hair sharper and a bit nicer in blurry (out of focus) areas, but nothing to write home about. The AVCHD codec of the FS100 holds up to grading the same way the uncompressed material does (much to my surprice) and refuses to fall apart. At least as long you are in a 32 bit floating point space.

I continue working on this and do some further tests with highlights and skin tones.
There is more to come, watch this space!


Okay, here comes a little update.

This was shot with GlenColor1 PP for outdoor use.


This was shot with G-LOG

here the same clip after grading

If you look at the scopes, you ca see what G-LOG does. ´it´s not really an S-LOG, but it gets a different distribution of values, that are quite handy in post.

There is one strange thing, that I don´t understand yet. If you look at the scopes from the first shot on GlenColor1 PP, there are those empty lines, in the luma and YUV parade.
Looks like there is information missing. Whereby the information in the G-LOG shots seems to be more complete and dense.

Here you can download the uncompressed full HD TIFFs, straight from the timeline: http://www.file-upload.net/download-3891460/G-LOG.zip.html



22 thoughts on “S-LOG (G-LOG) for the SONY FS100 (updated)

  1. Looking forward to the release of these new profiles, Glen. You continue to make a strong case for recording in AVCHD, and your color profiles are superior to those by AbelCine.

  2. Yeah, I shape the curve by tweaking the PP settings, with the help of charts, waveform/RBG parade and vectorscope. When I got my basic curve, I finetune it on real world objects.

    Gimme a few days – just want to make suer I nail it down.


  3. Not yet. Actually I doubt that the native latitude changes much – it´s just a different distribution, sins it´s not real S-Log. But I let you guys know in a few days.

  4. Great work Frank! You are really pushing the technical aspect of what’s possible out of the AVCHD codec with this camera. We’re very grateful!

    Plus when the firmware update comes next year, it will be very cool that PP will be loadable via the memory card which I think will help expand the use of these settings as it did with the Canon profiles. Exciting times ahead for this camera.


  5. Hallo Frank,
    habe jetzt das g-log A benutzt. Habe Probleme mit dem Weißabgleich gehabt. Es sah so aus als ob das gesamte Bild zu blau war. Sprich in situationen wo die Kamera mir zum Beispiel ohne PP 5400K vorgeschlagen hat, hat sie mir mit dem G-log A 9000k-10000K vorgeschlagen. Ist das normal? danke für deine Antwort.

  6. Pingback: G-LOG Flat Cine Profiles for the FS100 at FreshDV

  7. Im having a problem with the g-log looking too green.
    I white balance all my shots.
    When I load them into my fcp7 then send my cut into color, I have a heck of a time trying to grade the final image.
    Im looking for any suggestions.

    Thanks in advance!

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