Why I DON'T Shoot in S-Cinetone | S-Cinetone VS S-log3 | Part 1

Part 1 of a series comparing Slog3 to S-Cinetone. We will be transforming Slog3 into Rec709 using ACEScct Color Management.

Chapters:
00:00 - Introduction
01:00 - Disclaimers
01:45 - Test Overview
03:56 - Color Profile Comparison
07:56 - Dynamic Range
09:17 - Correcting First Samples
18:43 - Correcting Second Samples
23:13 - Outro

Sample Images provided to Patrons at:
Patreon.com/tonydae

I NEVER shoot S-Cinetone or any other baked in Rec709 look when I have even a tiny bit of post-production budget. Proper 10 bit log will provide a lot more room to make corrections if they are needed, as shown here, and will provide far more room for color grading as well. Here we explore what happens when we shoot in the wrong white balance and how much room we have to correct easily and efficiently.

Shot Specs:
Sony FX3, XAVC-SI, 4K 10 bit 4:2:2
Sigma 24-70 f2.8 DG DN @ F4
S-log3/S-Gamut3 shot in ISO640
S-Cinetone shot in ISO250 (To match exposure)

Note:
I used ISO 250 to match Rec709 transform from S-Log3 to make it easier to compare. You may wonder, why not base ISO of 100? It would require more exposure adjustments I wasn't going to make for this test and it would not prove anything anyways. S-Cinetone will ALWAYS have lower dynamic range compared to Slog3, Always. It isn't a debate or up for negotiation. If you do not believe me or Sony, you can try your own tests and choose whichever ISO levels you like, in fact, I encourage you to do so.

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Music Credit: Bensound.com

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What is ACES?
https://acescentral.com/

Sony White Papers:
https://pro.sony/s3/2020/03/24095333/S-Cinetone-whitepaper_v2.pdf
https://pro.sony/s3/cms-static-content/uploadfile/06/1237494271406.pdf

Видео Why I DON'T Shoot in S-Cinetone | S-Cinetone VS S-log3 | Part 1 канала Tony Dae