S-Log Explained - What It Is And How To Shoot With Log
- Nov 26, 2025
- 15 min read
When you’re shooting video, one goal is to capture as much dynamic range and color information as possible. All that data means tonal variability, a wider color gammut to use, and the flexibility to shape the image to your taste.
The problem? Normally, cameras don’t process the scene exactly as our eyes do because their sensors have a limited dynamic range and interpret light and color differently. Why the limited DR?
It would simply be too much data for it to be efficient.
So, in a scene with a bright sky and shaded face, there's a trade-off: you can expose to the right to ensure your subject is properly exposed, but this often overexposes the highlights, leading to clipped information. Alternatively, you can expose to preserve the highlights, but then your subject may end up significantly underexposed, which defeats the purpose of keeping the scene’s important details visible. This limited balance results from the sensor’s inability to capture very bright and very dark areas simultaneously.
That’s where Log footage comes in.
Every camera brand has its own version of Log - Sony has S-Log, Canon has C-Log, Panasonic has V-Log, which is used for video footage only.
At first glance, Log footage looks flat and might be overwhelming to work with. But once you understand what it actually is, HOW and WHEN to use it, it opens up way more flexibility in your color grading process and the final look.
Table of Contents
What is Log Footage?
Log footage uses a logarithmic non-linear curve to capture as much dynamic range as possible - meaning more detail in both shadows and highlights. The idea isn’t new. It actually comes from Kodak’s Cineon system in the early 1990s, which used logarithmic curves to digitize film while keeping its wide dynamic range intact.
Cameras usually record video with color and gamma profiles designed to produce images that look good straight out of the camera: high contrast, saturated colors, and a ready to use image. Rec.709 produces images with ready to go contrast and saturation, but the trade off is limited dynamic range. As a result, these profiles do represent color and tonal transitions from shadows to highlights in the way our eyes naturally perceive them. Our eyes don't perceive brightness linearly. We notice subtle differences in shadows but need huge jumps in brightness to see changes in highlights.
And standard gamma curves, such as Rec709 do not really account for this and they allocate brightness data coming from the sensor like this: bright areas might hold more data than needed, while shadows and midtones, where our eyes detect fine details, receive less. This results in less usable detail in the darker parts of the image, limiting flexibility for color grading.
Log curves (S-Log, C-log, V-log etc) work differently. They use a logarithmic curve that allocates MORE data points to darker areas (where our eyes are sensitive to detail) and FEWER data points to highlights (where we don't notice subtle differences as much). You're still capturing the same full range from darkest blacks to brightest whites. It’s just that you’re storing it more efficiently, the way our eyes actually perceive it. The result is footage that looks gray and washed-out at first, but contains far more usable information for you to shape in color grading.
What is S-Log?
Sony’s take on Log footage is called S-Log. It’s their own logarithmic curve, designed to squeeze the maximum dynamic range out of the camera’s sensor. This gives you a balanced rendition of highlights and shadow details, a wider color gammut and, ultimately, way more flexibility in post-production. There are three main versions: S-Log1, S-Log2, and S-Log3. And each is tuned for different generations of Sony sensors and workflows.
But we’re only going to discuss S-log2 and S-log3 here, since these are the one currently being used. So, what are differences between them?
S-log 2 vs S-log3
S-Log2 was introduced by Sony in 2012 on cinema cameras, and later on consumer cameras like the Sony A7s. Later on, Sony first introduced S-log3/S-Gamut3, which is modelled after the Cineon Log curve.
Dynamic Range
S-Log2 captures around 13 stops of dynamic range, which is still a lot. As a reference point, Rec709 captures around 6-7 stops of dynamic range. S-log2 holds a decent amount of detail between shadows and highlights, especially for 8-bit recording. S-Log3, on the other hand, can handle up to 14 stops, pushing more data into the file. That extra stop gives you smoother transitions and more flexibility when grading, but only if your camera and codec can support it (like 10-bit).
Base ISO
• S-Log2: Typically ISO 800 (camera dependent)
• S-Log3: Varies by camera (often ISO 640-800)
💡 Shooting at base ISO ensures that you’ll retain the maximum amount of detail in the darkest AND brightest areas of the image. If you push the ISO too high for instance, you’ll have to close your aperture, which means less light will come into the sensor. This will throw off the dynamic range, and basically defeat the purpose of Log footage. You’ll end up with noisy shadows and highlight clipping.
Data Allocation (Highlights, Mids, Shadows)
S-Log2 puts slighty more bit data into the highlights and less in the mids and shadows. That’s why it protects bright areas really well (great for sunny or high-contrast scenes). It clips at a higher level (around 107 IRE vs S-Log3's ~94 IRE), giving it more highlight headroom before you blow out the image.
This highlight-first approach is also why S-Log2 shadows look "cleaner" straight out of the camera, especially in 8-bit or at lower ISOs. By allocating fewer code values to the shadows, S-Log2 keeps them "tucked down" rather than lifting them. You get less visible noise, but the trade-off is a lack of shadow detail; if you try to pull those shadows up in the grade, the image will clip or fall apart much faster.
S-Log3 flips the script by redistributing that data more evenly. It focuses heavily on the mid-tones and shadows to mimic the Cineon film curve, which matches how our eyes actually see light. This results in a more natural highlight roll-off and smoother gradations in skin tones. However, because S-Log3 "lifts" the shadows to capture that extra detail, the raw footage often looks noisier before it's graded. You’re essentially seeing deeper into the darks, bringing buried information, and the noise that comes with it, to the surface.
The rule of thumb? The more you lift the shadows, the more information you have, but the trade-off is more noise for you to manage in post.
Newer cameras dropped S-Log2 because they are 10-bit powerhouses now. 10-bit has enough data to handle S-Log3’s aggressive shadow lift without falling apart. However, if you’re shooting 8-bit, S-Log3 is actually the "worse" choice because the data gets stretched too thin and the image breaks.
Middle Gray
S-Log2 places middle gray at 32% IRE. In practice, this means you need to expose brighter(often +1.5 to +2 stops) to keep shadows clean. Otherwise, they’ll get noisy fast.
S-Log3 sets middle gray at 41% IRE. It behaves more predictably with exposure tools and matches better with other log formats like Canon Log or Arri LogC.
💡 The middle gray percentage tells you the average brightness point. Since log curves preserve more details in highlights and shadows, this middle gray point will be lower than with footage shot on Rec709, for example. That’s why Log footage is generally slightly overexposed.
When to use S-Log2 vs S-log3?
Go with S-Log2 if…
You’re on an older Sony camera that only records 8‑bit internal (e.g., A7 III, A7R III, A6400, FS5 internal 4K) and cannot reliably handle S‑Log3 without banding or artifacts.
Slog2 is the best option for 8 bit cameras and will offer the max amount of information the camera can offer without breaking apart that easily. This also makes it easier to match footage with higher-end cameras that record 10-bit S-Log3. Matching S-Log2 to S-Log3 is much more feasible than trying to match Rec709 to S-Log3, which is extremely difficult if not, impossible.
Go with S-Log3 if…
You’re shooting 10-bit and want a cinematic grade. S-Log3 is designed to mimic the Cineon film curve, giving you a smoother, more natural roll-off in the highlights and mids.
You need maximum dynamic range and the widest color gamut for high-end production. People use S-Log3 in all kinds of lighting (including low light) not because it's "better" in low light -it's actually noisier in shadows -but because it captures the most data for grading flexibility. If you're doing professional work where you need every bit of color and tonal information, S-Log3 is the way to go.
You want more shadow and mid-tone detail. S-Log3 "performs better" in the shadows only in the sense that it allocates more code values to those areas. You aren't getting cleaner shadows—in fact, they’ll look noisier because they’re more lifted—but you’re getting finer tonal steps. As long as you know how to expose properly and manage noise in post, you’ll have much more information to work with than in S-Log2.
💡: As a rule of thumb, stick with S-Log2 for 8-bit footage. 8-bit just doesn’t have enough data to handle the full 14 stops that S-Log3 tries to capture.
Where Do I Find S-Log Picture Profiles?
S-Log picture profiles are stored inside your Sony camera’s Picture Profile (PP) menu. These profiles control how your camera interprets color and contrast, including which gamma curve and color gamut (color space) are applied to your footage.
Default Factory Picture Profiles
PP7: S-Gamut color mode with S-Log2 gamma
PP8: S-Gamut3.Cine color mode with S-Log3 gamma
PP9: S-Gamut3 color mode with S-Log3 gamma
💡 Info: Each of these profiles has a different color gamut and gamma curve combination.
S-Gamut3.Cine is Sony’s color space variant designed to balance wide gamut with more film-like rendering. It's actually an interpretation of S-Gamut3. which is the full gamut of the sensor, but with improved skin tones, colors, and a slightly smaller color space, making it a bit easier to grade.
S-Gamut is the widest of the 3, representing the camera's native color space. It is intended for archival-like flexibility but can be challenging to grade due to its breadth. S-Gamut3, gives a wider color space, closer to Sony’s cinema line cameras like the VENICE.
Because S-Gamut3.Cine is narrower than S-Gamut3 but wider than Rec.709 in practice, it tends to sit between broad gamut capture and more filmic grading targets, which makes it easier to grade compared to S-Gamut3, while still giving you a wide latitude for color decisions.
Note for Newer Sony Cameras (FX2, FX30, a6700, etc.)
On newer Sony cameras, S-Log2 has been completely removed, and the standard S-Log Picture Profiles (PP7–PP9) have been relocated. You’ll now find S-Log3, Cine EI, and LUT options under the dedicated Log Shooting mode in the deeper video settings menu - no longer inside the standard Picture Profile list.
However, you can still manually create custom S-Log recipes using any of the available Picture Profile slots (PP1–PP6 or PP10+). All slots have identical functionality, so you're free to configure them for custom gamma curves, color modes, and black level settings, just like in the original S-Log profiles.
👉 Quick side note: Some people wonder if S-Log helps for stills. There’s no point to shoot in S-log if you want to edit your photos - just shoot RAW, it can have a bit more dynamic range. But you can choose S-log if you want to create certain in-camera recipes for your JPEGs - My Kodak Portra 800 recipe is based on log, as it provides a good base for those buttery, soft tones that characterize Portra overexposed.
RAW, S-Log, S-Cinetone, and Rec.709: How They Compare
To really understand S-Log, it helps to see it in the bigger picture of video formats. Think of it as a spectrum that runs from RAW on one end to Rec.709 on the other.
What is RAW video format?
At the extreme end, RAW gives you everything the sensor captures aka no compression of data. It’s the most flexible format you can shoot, but it comes at a cost: massive file sizes, heavy workflows, and post-production that isn’t always practical unless you’re working on a high-budget project and you need that latitude.
What is REC.709?
On the opposite end is Rec.709, the broadcast standard. This is what most screens expect and what most cameras default to. Footage looks good right out of the box, with contrast and color already adjusted in-camera. The tradeoff is that you can lose details quickly: bright skies clip, deep shadows crush, and you don’t have much room to adjust after the fact.
What is S-Cinetone?
S-Cinetone is a picture profile designed by Sony to mimic a more cinematic roll-off and skin tone straight out of camera. Compared to Rec.709, it’s softer in the highlights, easier on skin tones, and has a slightly more polished “filmic” vibe. Importantly, it’s still a baked-in look: you get a cleaner starting point, but you won’t have the same grading headroom as Log. One technical perk is that Cinetone can be shot at lower base ISOs than S-Log, which helps keep shadows cleaner in darker environments.
💡Don’t have S-Cinetone on your camera model? Here’s how to replicate it.
TLDR: RAW gives you ultimate control at the cost of workflow. Rec.709 is quick and limited. S-Cinetone sits in the middle as a polished “ready look.” And S-Log is the balance point—demanding more work than Rec.709 or Cinetone, but with far more room to grade.
When to Use Log, S-Cinetone, or RAW?
Each color profile has its own strengths. The key is knowing when to use them. Here’s how to decide between RAW, S-Log, S-Cinetone, and Rec.709.
- RAW is the choice when nothing but maximum flexibility will do. High-end commercials, narrative films, or projects where the look will be heavily crafted in post are where RAW makes sense. The storage, processing power, and workflow requirements usually mean it’s reserved for bigger productions.
- S-Log shines when you want the benefits of RAW without the pain of managing it. It’s perfect for projects where you need dynamic range: think outdoor shoots with bright skies and deep shadows in the same frame, or commercial/narrative work where you’ll be grading heavily. The tradeoff is time: you’ll need to expose carefully, monitor with LUTs, and plan on grading in post. It’s not ideal for dark environments or fast run-and-gun shoots unless you’re very comfortable exposing Log.
- S-Cinetone is ideal for situations where speed matters but you still want a cinematic edge. Events, weddings, talking heads, or corporate projects are all great candidates. It delivers a clean, professional image straight out of the camera, with skin tones that are flattering and highlights that roll off more gently than Rec.709. You can tweak it in post if needed, but most of the look is already baked in.
- Rec.709 remains the go-to for pure efficiency. If you’re shooting content that needs to be turned around fast, think social media, vlogs, internal corporate clips, Rec.709 gets the job done with the least amount of fuss. What you see on the back of the camera is basically what you’ll get. The tradeoff, of course, is that you don’t have that dynamic range latitude.
When S-Log Isn’t Necessary
While S-log is super powerful, you don’t have to reach for it all the time. There are some situations where it can hinder, not help you.
1. Quick turnaround projects
If you need to shoot and deliver fast, you might not have the time to color grade LOG footage. In these scenarios, S-Cinetone or Rec.709 will usually give you a better balance of quality and speed.
2. Low-contrast scenes
When the lighting is soft and evenly distributed, the extra dynamic range of S-Log isn’t doing much for you. Flat lighting means there’s little to recover in post, so you can get away with a baked-in profile and spend less time grading.
3. Dark environments or low-light shooting
S-Log has a higher base ISO (usually 640 or above), which can introduce noise in shadows. If you’re in a very dark setting and don’t want to struggle with noisy footage, a profile like S-Cinetone or a standard Rec.709 is your best bet.
4. Fast, run-and-gun shooting
When you’re moving between wildly different lighting environments, like walking from a sunlit street into a dim interior, S-Log can be tricky. Auto ISO doesn’t work smoothly with Log, so you risk under- or overexposing. In these situations, a ready-to-use profile will keep your exposure safer and your workflow simpler.
How to Shoot in S-Log
Log gives you tons of flexibility, but only if you shoot it properly. Get it wrong, and you’ll end up with footage that’s hard to fix. Here are some tips I learned along the way.
1. Set the Right ISO
Every Log profile has a base ISO. For S-Log3, that’s usually ISO 800 on full-frame Sonys (a7S III, FX3, FX6, etc.), and ISO 640 on some APS-C models. Stick as close as possible to this base ISO. Raising ISO in log tends to make shadows noisy. On cameras with dual native ISO (like the FX3), use the second base ISO if you’re in low light.
3. Don’t Rely on Auto ISO
In Rec.709 or S-Cinetone, auto ISO can save you in fast paced shooting conditions. In S-Log? Not so much. You’ll see the ISO jumps clearly in footage, and you risk drifting too far from base ISO. Instead, control exposure with aperture, shutter speed, and ND filters.
4. Set White Balance correctly
Log footage is very flat and desaturated, so incorrect white balance becomes more noticeable in post. Avoid relying on auto white balance, which can shift between shots. Instead, set a custom white balance using a gray card or a color temperature meter before you start shooting. This ensures consistent colors and saves time correcting in post.
5. Use ND Filters
Because base ISO is relatively high, you’ll often overexpose outdoors. Solution: a variable ND filter or built-in NDs (if your camera has them). This lets you keep exposure in check without breaking S-Log’s sweet spot. If you don’t use ND filters, you have to “squint” the camera by closing the lens and you’ll lose the bokeh.
👉 What’s an ND filter? It’s a filter that reduces the light that enters your camera without messing up with the colors.
6. Use S-Gamut color modes for maximum flexibility in color grading
Set your color mode to S-Gamut3 or S-Gamut3.Cine if you want the widest range of colors for grading. The image will look flat in-camera, but it gives you more room to work in post. If you want a faster turnaround and less post work, stick with smaller spaces like Still or S-Cinetone.
7. Expose Correctly
Exposure is key when it comes to Log footage. One rule of thumb is to expose to the right, aka slightly overexpose S-Log footage (around +1 to +1.7 stops). However, this only stands true for older, 8 bit Sony cameras. Cameras with the newer sensor don’t require overexposure.
How do you set exposure in S-log?
Since S-Log looks so flat on the back of your camera, figuring out how to expose can be tricky. That’s why we use some tools so we don’t “drive” with a fogged-up windshield.
Tools
1. LUT Monitoring
If you’re using an external monitor, this is the most reliable option. Load a simple S-Log → Rec.709 LUT to get a realistic preview of contrast and color, while still recording a flat S-Log file internally.
You can also load creative LUTs to preview different looks on set without baking anything in. What you see is just a reference, the file stays flexible. This gives you context on how your graded footage might look without hiding exposure problems.
2. Histogram
While a histogram won’t tell you where clipping happens, it does tell you if you’re pushing things too far overall. That’s why it’s more useful than Gamma Display Assist when judging exposure.
I rely on the histogram about 90% of the time, especially to make sure I still have information in the highlights and shadows.
Think of it as a reality check.
3. Zebra Stripes
Set zebras to around 94% for highlights. This will warn you when you’re about to clip. For skin tones, many shooters use zebra level ~70% as a rough guide.
Pro tip: Pick one method (either highlight zebras or skin zebras) and practice until you trust it.
4. Gamma Display Assist
Most Sony cameras have a Gamma Display Assist option in the menu. This applies a Rec.709 preview just to your screen: your footage still records in S-Log.
Sounds useful, but it can be misleading!
Because you’re seeing a converted image, it’s much harder to tell if:
highlights are actually clipped
shadows are already crushed
the image is globally over- or underexposed
That’s why I keep Gamma Display Assist OFF when shooting. I’d rather see the flat image, check the histogram, and know exactly what’s happening in the file.
Use Gamma Display Assist only as a preview option, not as your main exposure tool.
Exposure Tips for S-Log2 and S-Log3
S-Log2 Exposure Tips
The general rule with S-Log2 is to overexpose by about +1.5 to +2 stops to maximize dynamic range and keep shadows clean.
S-Log2 distributes data evenly from 32% to 105% IRE, so in theory you could place midtones or faces almost anywhere in that range and retain similar detail. In practice, you’ll get the cleanest results when skin tones sit around 55–60% IRE, which is roughly +1.5 stops above middle gray.
Noise Management
If you’re metering with a light meter, set ISO to 800 and expose as usual.
This gives you a balanced image with minimal noise.
S-Log3 Exposure Tips
With older Sony cameras (FS5, FS7, early A7 series), S-Log3 was insanely noisy in the shadows, so everyone overexposed by +1.5 to +2 stops to lift the shadows and fight the noise. That was the standard practice back then.
But with newer 10-bit cameras (A7S III, FX3, FX6, FX9, A7 IV, etc.), the sensors are way cleaner, so you don't need to overexpose S-Log3 anymore. Sony's own guidance says to expose S-Log3 to their recommended levels, white card at ~61%, skin tones around ~52%. Overexposing by 1.5–2 stops on these newer cameras just wastes your highlight headroom and can blow out skies for no reason.
There are exceptions to this, though: if you’re in a very dim scene (e.g., night interiors, dimly lit interiors, low‑average concert lighting), you may choose to expose S‑Log3 brighter than those levels to keep shadows cleaner and avoid pushing too much in post. You can also overexpose if the final look is intentionally bright. This gives more headroom in the midtones and shadows for that bright look, while still keeping highlights safe.
You can also load a custom monitor LUT that’s 1 stop brighter. This keeps monitoring exposure intuitive (“what you see is what you get”) while still ensuring slightly cleaner shadows.
TLDR
- S-Log2: Slight overexposure helps. Keep skin tones around 55–60% IRE.
- S-Log3 (10-bit cameras): Expose normally, unless when in a very dim scene or when the final look is intentionally bright.
- Always protect highlights first—recovering clipped skies is harder than lifting shadows.
S-Log will offer the most flexibility when paired with S-Gamut color modes, but faster turnaround with smaller color spaces like Still or S-Cinetone.
Final Thoughts
All in all, Log is just a tool, not a magic switch. A really powerful one, when you know what to do with it.
Use it when you need the most flexibility and dynamic range. Skip it when you need speed or simplicity.
Once you get comfortable exposing it properly and converting it in post, it opens up way more creative room to shape your footage exactly how you want. And if you’re looking for a Log to Rec709 conversion LUT, or PowerGrade, I got you.
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