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jonathan_9608
Participant
April 25, 2025
Answered

S-LOG2/S-Gamut3.cine footage - What input colour space to use?

  • April 25, 2025
  • 4 replies
  • 1413 views

Footage shot on an Sony a7iii. Auto-detect does not read the log footage so I am trying to apply a manual override. However there is no option for the s-log2 gamma with the s-gamut3.cine colour space. The only available options for Sony are:

 

Sony S-Log/S-Gamut (new)
Sony S-Log2/S-Gamut (new)
Sony S-Log3/S-Gamut3 (new)
Sony S-Log3/S-Gamut3.Cine (new)

 

Trying to determine which option would be best to use? Or if I am better off applying a LUT instead?

 

Additionally, is there a way to choose slog-2 as the input gamma & s-gamut3.cine as the input colour space separately?

 

Any help is appreciated. Thanks.

    Correct answer Francis-Crossman17221443

    In this case, you should use a LUT.  We don't provide the ability to choose a separate color and gamma.

    4 replies

    Fergus H
    Community Manager
    Fergus HCommunity Manager
    Community Manager
    April 28, 2025

    @jonathan_9608 I'm a bit curious: what is appealing to you about the combation of S-Log2 and S-Gamut3.Cine? Sony usually recommends S-Log3 but suggests that S-Log2 can be better for handling particuarly bright scenes. 

     

    As Francis pointed out, we don't yet have the ability mix and match color spaces and transfer functions. 

     

    Regards,

    Fergus

     

    anthonyh32405088
    anthonyh32405088
    Participant
    August 16, 2025

    I actually have the same use case. My is more specific for work though. At work, we currently have a Sony A7III which we use to shoot product videos. As I've been researching how to get the best quality footage from this camera I've determined that shooting Slog 2 with S-Gamut3.Cine is the best option. From what I've discovered, the Sony A7III is an 8bit camera, so Slog 2 is the best.

     

    And then a quick Google search states: The main difference between S-Gamut and S-Gamut3.Cine on the Sony a7III lies in their color space and intended use. S-Gamut3.Cine is designed for easier color grading, especially for digital cinema workflows, while S-Gamut is a wider color space that requires more post-processing. 

     

    As I began color correcting /grading in AE I noticed the same thing as @jonathan_9608. There is no option S-Log2 / S-Gamut3.Cine eventhough the camera can be set that way. My research into problem led me here. I didn't realize the Gamma dictates the color mode. 

    Following the above advice with the LUTs, I'm working around this issue in Premiere via the Lumetri Color. In the Basic Correction / Input LUT I'm using a Convert to Rec 709 LUT directly from the SONY website. And then in the Creative / Look I'm using a custom LUT. 

     

    Just thought I'd share my thoughts as I've been looking into this specific usecase as well. 

    R Neil Haugen
    R Neil Haugen
    Legend
    August 17, 2025

    The entire "needs more grading" is simply that the S3Cine remaps to Rec.709, but ... in doing so, with 8 bit media, you're also typcially risking losing a bit of data.

     

    It's kinda like shooting say ProRes mov in Rec.709 in camera, rather than log-encoded.  It's designed to get the clip data shifted to the Rec.709 dyanamic and color range needs ... but ... you lose the greater data of the original file.

     

    There are two ways to use your original file and Premiere's capablities to get 'better' image data.

     

    The first, is to go through the list of Override options, for log media to Rec.709 .... and try them all. You may find that one works very nicely, and you  can skop doing any manual work.

     

    For instance, I typically shoot BRAW, and like to bring that into Premiere in 'log' so I can collapse data into Rec.709 under my taste choices. And they don't have a specified format override for that. However, I have four choices I've written down, for whether I want a bit more contrast or less ... and that's spiffy.

     

    And past that, it's actually very easy to take a file with a bit wider range and create presets to 'normalize" the image to your taste within Rec.709 ... save the preset, or even tell Premiere to make a LUT from your Lumetri settings.

     

    Then you simply use the Lumetri preset of choice dropped on all the clips in the bin ... this is "Source Effect" use ... or apply the LUT as an Input LUT.

     

    Both quick and easy in application. 

    Everyone's mileage always varies ...
    R Neil Haugen
    R Neil Haugen
    Legend
    April 26, 2025

    [Edited by moderator]

    Everyone's mileage always varies ...
    Francis-Crossman17221443
    Community Manager
    Francis-Crossman17221443Community ManagerCorrect answer
    Principal Product Manager
    April 25, 2025

    In this case, you should use a LUT.  We don't provide the ability to choose a separate color and gamma.

    Kevin-Monahan
    Community Manager
    Kevin-MonahanCommunity Manager
    Community Manager
    April 25, 2025

    Hi Jonathan,

    Thanks for the message. I've asked the team to take a look at your case. I hope to get you a response shortly. Sorry for the delay.

     

    Thanks,
    Kevin

     

    Kevin Monahan - Sr. Community and Engagement Strategist – Adobe Pro Video and Audio
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