![]() The results are practically identical, perhaps because of the amount of noise creating a dithering effect. Or better this reflection of a light on a powered-off LCD creating a very smooth and gradual gradient from light to dark. It is hard to get a blue sky in the UK at the moment so you will have to make do with a wall! I’ve often tried to avoid S-LOG 3 on Sony cameras in 8bit due to the banding in plain areas of the shot like a blank wall or blue sky – if shooting S-LOG3 this was very visible on the older A7S II. Here’s the full 4K frame for reference which you can click on and drag to desktop for a full 3840 x 2160 version… ![]() Again this was 4K/60p in H.264 10bit and 8bit… I can see a bit more compression in the blue and red areas when pixel peeping the 4K frame very close-up, but it’s a minor difference and probably down to the slightly lower bitrate of the 8bit codec (150Mbit vs 200Mbit). So here is a 1:1 per pixel crop of what I found (4K/60p mode) on the A7S III:Įven when really pushing the image by 5 stops in post and shooting in the flattest S-LOG 3 profile for maximum dynamic range, essentially 8bit goes toe to toe with 10bit for almost identical results. The outcome was so similar I had to do the export from my NLE twice just to check I hadn’t made a mistake and exported the same frame from the same clip.įor the next test using the same S-LOG3 clips from my Sony A7S III shot in 8bit and 10bit, I converted to Rec709 using Adobe’s ARRI ALEXA LOGC to REC709 LUT which is a good match for many of the flatter LOG profiles on mirrorless cameras. That is specifically: detail, noise, compression and banding. In this shot I exposed for the bright bulb filament in S-LOG 3 and wanted to see the quality of information in the shadows… i.e. Fast forward nearly 10 years and there’s far less difference between 10bit 4:2:2 and 8bit 4:2:0 on the Sony A7S III than you might expect. The 8bit Canon LOG mode on that was incredibly nice. Not that this was not already proven by the Canon 1D C and that infamous MJPEG codec. Well it seems that on the A7S III the difference is much of the time impossible to even see. Lots of dynamic range, small file sizes, easy to edit and to apply a LUT. RAW is the ultimate codec, and the ultimate pain in the ass. What actually makes the difference when it comes to image quality? Well it’s a bit complicated. It’s a bit like the amount of memory in your PC or the speed of the CPU. Alex.s.In 99% of cases there seems to be little benefit to using 10bit other than more difficult to edit, larger file sizes.ġ0bit is one of those easy to get excited about specs on paper. I hope thats not the problem, but I am here to find out what is. I just want to know if I am doing anything wrong, or forgetting to do anything, or whatever.ĪLSO, quick NOTE: this camera had a damaged senor before, but the owner got it fixed by Sony. I took some snapshots in Premier, the first one is with SLOG still on, the Second is with a Lut, just for reference. Without the LOG, i shot at night on my street/downtown in the city at 35 thousand ISO and gotten clear good images, but with Slog-2 at its Lowest ISO it seems like we need to way over-light the scene in order for it to not be grainy. I just need to know if its me and or the camera, and how to fix it, or any suggestions. My question to anybody who OWNS/or Used this camera in SLOG-2 specifically, at Night or Interior DARK scenes, has anybody got similar results ? ![]() Yet we are never able to achieve this in low lit scenes in SLOG-2. I keep seeing crazy tests of people going 10,12,16 thousand in SLOG-2 and having it be crisp, although it looks milky still on slog obviously, its still crisp when graded. Now This Short Film was a more of a controlled situation, so we decided to use the Slog2 profile, but ended up with grainy footage at its lowest ISO, and I know you are supposed to compensate by us EV+1,or,2 or even -,1or2 for grain, but we tested every which way and still got grain. We shot a previous movie on this camera were we had Night Scenes in a Park and we were getting crazy amount of grain at night with SLOG-2, that we just decided to shoot without it, and it turned out great. The problem is a lot of the shots have a really good amount of grain to them. We were at native ISO of 3200 ( the lowest you can go in Slog) f4 on a Rokinon 35mm. We just shot a short Film on the Sony A7s, using Rokinon Lenses. ![]() I been using the A7s a lot lately and I saw all the AMAZING low light tests, but yet I did not have the same results most of the time.
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