There's other whitepapers on s-log and its variations if you search for them, it's been around for quite a while in Sony's pro/cine cameras. The LUT can work with footage from literally any camera: BMPCC, ARRI, DJI, SONY, CANON, RED. but here's a brief whitepaper that also talks about Sony's s-log (and ACES) as used in Vegas Pro (explained in Sony's own way, of course). if anyone's interested there's whitepapers & forums online that explain what ACES is. Using Resolve's Slog2>rec.709 1D lut shows massive 8-bit stepping in the histogram once it stretches out the range, and the image looks rather noisy compared to say the normal rec.709 (PP3/PP4) profiles or Cine profiles.Įdit: I mentioned ACES earlier. What I'm starting to see is that for any (controlled?) lighting situation where there may not be extreme dynamic range you want to retain, it's probably better to stay well away from S-log2.
Interesting watching the histogram on the camera as it starts compressing the information from a standard tonescale into less and less bits as you roll through the PP's. Ran some tests (A7R2) on colour/tonescale charts under locked off conditions and cycled through each of the PP's just to see what they were doing technically, both on-camera and in Resolve's scopes.
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