EOSHD Pro LOG For Sony

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EOSHD Pro LOG for

Sony Cameras
With Film Looks
Instruction guide by Andrew Reid
Pro LOG version 1.0 / 2017a 
Copyright © EOSHD / Andrew Reid 2017

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Introduction
EOSHD Pro LOG features two profiles designed for further grading in post, and the use of many different
looks, applied with a LUT file in your edit.
“Pro LOG Cinema” produces a flat image similar to C-LOG which is easy to grade and maintains a similar
colour space to normal footage.
“Pro LOG S” is an optimised S-LOG2 profile, for when you need the maximum dynamic range from a
demanding scene or need to use a LUT designed for S-LOG2.
Advantages of Pro LOG Cinema

• Works at any ISO sensitivity (for example ISO 200)
• Significantly decreased banding compared to S-LOG3
• Easier to grade than S-LOG2
• Similar curve to C-LOG and compatible with LUTs designed for Canon LOG
• Exclusive Film Looks only available with Pro LOG from EOSHD
• Includes advantages of EOSHD Pro Colour, such as reduced colour clipping (i.e. prevents
blue highlights turning turquoise of green), deeper and truer reds and better skin-tones.
Advantages of Pro LOG S

• Maximum dynamic range
• Decreased banding compared to S-LOG3
• SLOG-2-based, therefore works with any LUT for S-LOG2
• Enables use of the S-LOG2 Film Looks supplied with this guide
• Includes advantages of EOSHD Pro Colour, but the final colour depends heavily on the LUT
used in post.

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EOSHD Film Looks
For instant cinematic results, this download also includes 25 EOSHD Film Looks in .cube 3D-LUT format,
for use with “Pro LOG Cinema" (x15) and “Pro LOG S” (x10).
Full instructions for post production are provided later in the guide.
Camera compatibility
Pro LOG is designed to work with the following models:
• Sony A7S II
• Sony A7R II
• Sony A99 II
• Sony A7S & A7 II
• Sony A6300 / A6500
• Sony FS5
• Sony RX100 IV / V
• Sony RX10 II / III / IV 

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The EOSHD Pro LOG Settings

Please keep the following information confidential.
PP1 - Pro LOG Cinema

Black Level = +15
Gamma = Cine2
Black Gamma = Wide +7
Knee = Manual (Point 100% / Slope 0)
Color mode = Still
Saturation = -10
Color Phase = 0
Color Depth = R:0 / G:0 / B:+4 / C:0 / M:-4 / Y:0
Detail Level = -7
Optional: Warm Ambient White Balance Adjustment = A-B: A3 / G-M: M1 (see Optional Extra Settings)
PP2 - Pro LOG S

Black Level = 0
Gamma = S-LOG2
Black Gamma = Wide +7
Knee = Auto
Color mode = Movie
Saturation = -15
Color Phase = +2
Color Depth = R:+4 / G:+4 / B:+4 / C:0 / M:-4 / Y:0
Detail Level = -7
FS5 users: Select Middle instead of Wide for Black Gamma, +7

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Picture Profiles Advice
The settings are detailed in the guide as Sony does not allow colour settings to be loaded from a file.
To apply the settings, dial exactly as stated above into the Picture Profiles menu under the PP1 and PP2
presets. You may use a different slot (PP2, PP3, etc.) if PP1 is already occupied (with EOSHD Pro Color
for example).
EOSHD Pro LOG is for grading in post, like a film negative. It is not meant to be a final look.
EOSHD Pro Color is the straight out of camera look http://www.eoshd.com/pro-color
On the Sony Alpha and RX stills cameras the Picture Profiles are located in the Main Menu. On the Sony
FS5, Picture Profiles are located in the CAMERA/PAINT menu.
Official sample video

https://vimeo.com/233905206
Tip: Different people perceive different amounts of reds and magenta in images due to differences in
colour perception and eyesight. If the image looks too magenta for you, simply dial down the “Color Phase”
option to -1 or below to suit. I use 0 or above in my settings, as it tends to benefit skin. The Sony cameras
have a Homer Simpson look to skin by default.

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Optional extra settings

Custom White Balance
As well as setting the white balance temperature (or leaving it on auto), the Sony cameras allow you to
adjust the colour-tone of white balance, using a shift between blue (B) and amber (A) on a horizontal scale
and green (G) and magenta (M) on a vertical scale. As Sony cameras tend to go for a clinically, technically
correct white when your eyes are telling you that the light in the scene gives an attractive colour cast to the
subjects and surfaces it’s illuminating, EOSHD Pro LOG Cinema can sometimes benefit from a warmer
white balance shifted away from the default Sony green/yellow bias.
Also, some of the newer cameras have an Ambient White Balance mode. I recommend to enable this or
dial the setting below into the camera white balance adjustment menu (Sony Alpha and RX only).
For warmer tones, select Custom White Balance Adjustment = A-B: A3 / G-M: M1
You can also make the image cooler by moving the dot towards the blue corner of the adjustment chart. 

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A cut out and keep guide to custom white balance in natural light
If using preset manual white balance on your Sony camera, use roughly the correct temperature
compensation for the given shooting circumstances…
2500K-3200K - Indoor light, keep white

Coldest look to warm indoor light, removes orange tone of warm ambient light from all subjects in the room
especially white surfaces
3300k-3600k - Indoor light, keep ambience

Warmer look to warm indoor light as the eye sees it, keeps ambience. White objects will no longer be
white, but take on the warmer cast of the light source nearby.
Approx. 4400k - Coolest look to outdoor sunlight

Usually used outdoors. Indoor incandescent light and most electronic light outdoors at night may look too
warm at 4400k, unless scene is in a heavily shaded or very dark part of a room. Too cold for most outdoor
light so I prefer to use 5600k onwards outdoors.
5600k - Most scenes shot in direct sunlight

Mostly a good match for shooting under natural light during the day.
6000-8000k - Cloud, shade, evening light

If shooting in the shade, or on a cloudy day, 5600k will look too cool and it will be necessary to go higher.
Also in twilight / dusk conditions, 8000k is often necessary.

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Using manual white balance instead of auto
(These instructions do not apply to the FS5) 
EOSHD Pro LOG works fine with auto-white balance but under certain shooting conditions you can get
even better results and more creative control with a manually set white balance.
In the white balance menu, three custom presets are available and you can apply different white balances
to these to vary the warmness or coolness of the shot in typical interior lighting conditions. This is useful if
the automatic white balance applies a temperature which looks too orange, or too cold.
Step 1. Scroll down to Custom Setup.
Step 2. Press “Set” whilst the camera is pointed at an interior light (tungsten or LED lightbulb) until you get
3600K (you may need to point the camera at a darker, shaded area of the room) and assign to Custom 1.
A lower temperature than 3600K will render a clinical, cooler look to interior scenes. If this is your creative
intent, try for a white balance of between 3200K and 2800K.
Step 3. As step 2, set Custom 2 but this time try to obtain 4300K from a shaded area of the room, or from
an area of the room lit also by the light from an exterior window. Repeat for Custom 3 (5600K).
Step 4. You may also need to use a custom white balance of approximately 7500k outdoors, on a cloudy
day. Before recording, set a Custom white balance in the same way as the previous steps but outdoors
under shade or cloud. For sunny weather, try 5600K.
Select Custom 1 for indoor situations / tungsten light. Select Custom 2 for a warmer ambience indoors.
Select Custom 3 for daylight exterior scenes. You may also select a Custom Temperature of your choice or
dial the C.Temp./Filter (Kelvin) for a cooler shot indoors or a warmer shot outdoors. Custom 2 (4300K) can
also be used in daylight if you want a cooler daylight tone than given by Custom 3.
I also recommend assigning the white balance menu to a custom function key so you can quickly toggle
between Custom 1 to 3 during a shoot.

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What is white balance?
Different light source give a different temperature of light, from the white glare of the sun to the warm tones
of fire or a incandescent lightbulb.
White objects and surfaces, such as a wall painted white, are given an ambient tone that’s different
depending on the light source, and the same goes for everything else. An actor’s face lit by a bonfire for
example has an orange glow. The camera engineer’s intention of white balance is to get rid of the ambient
light temperature and reproduce the subject as they actually are, for example a white wall should be white.

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Creatively this might not be what we want, so we have various in-camera options to keep the ambient
colour cast from the light source on our subject.
The colour of light varies so much that we must always apply some form of white balance to the image. If
we just shot at one white balance, then either interior scenes would be completely orange and outdoor
scenes correct, or outdoor scenes would be completely blue and interior scenes ok.
The camera can automatically adjust for this, but also offer manual control of the colour temperature
compensation applied to the image by the white balance system. Filmmakers use different kinds of light to
give different moods, styles and feels to a scene. To stop the camera overriding this mood, sometimes it is
necessary to dial in the exact white balance we want.
On some Sony cameras there is a recently added Ambience Priority white balance mode, which Canon
cameras have been using for years. This prevents the camera from rendering a clinical image and keeps
some of the natural colour cast from the light on the subject. It typically produces a ‘warmer’ looking image
indoors, to match what the human eye sees.
The human visual system also has it’s own white balance system, which adapts to the temperature of light
in much the same way the camera does. That’s why if you turn Night Shift on on your Mac, your eyes
adapt to it over time and whites look normal again - until you turn it off suddenly and now the screen gives
out a harsh blue/white glare until your brain once again adjusts to the change.
Different lighting falls roughly into three categories. There’s indoor tungsten or LED light at giving a yellow/
orange cast. Approximately 3200K helps balance this and stops things looking too hot. When we set the
camera’s white balance system to 3200K we are making the image cooler to compensate for the warm
cast. Since it is often important to maintain the ambience of this light (depending on what the script calls
for, at least) I prefer to use 3600K, giving a warmer look that is truer to how the human eye sees the scene.
3600K is also the setting I use for shooting night scenes out in the city, under whatever electric light is
available. Cooler than this and you tend to get a more clinical look which is useful depending on the
creative choices you’re making and the mood called for by the script.

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Daylight is balanced at 5200K but varies hugely, depending on shade, the weather and other factors.
4300k is usable outdoors for a cooler tone (like a winter scene), but generally I use 5600k for almost all
outdoor shoots in natural light. In cloudy conditions it’s necessary to increase from 5600k to 7000k or even
8000k if you want a very warm sun-drenched look to sunny weather footage.
The Sony cameras store up to 3 custom white balance temperatures. Rather than dialling in the numbers
you have to point the camera at an actual scene to set the white balance temperature for that particular
light.
Other recommended camera settings

File format XAVC S 4K (24p or 25p 100M)
Soft Skin Effect OFF
High ISO NR ON (Low)
Gamma Disp. Assist OFF
Monitor Brightness Manual 0
Mode dial advice

In both Movie mode and P/S/A/M stills mode, video is recorded to an identical standard of 4K, however live
view is handled differently. When the dial is set to Movie you get a more responsive record button and no
gamma shift between live view and recording. But if the mode dial is set to a stills mode like “M” or “A” you
get several more advantages including:
• Sharper magnified focus assist

• Faster AF for setting up a shot
• Faster screen and EVF refresh rate
• Ability to reel off photos on the main shutter button
Tip: to ensure the correct aspect ratio is displayed for video in P/S/A/M mode select 16:9 in the main menu
for Aspect Ratio (stills). 

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Post production
Introduction
Anything that happens after the footage has been shot such as editing and colour grading the image is
called “post”. The process happens in software on a Mac or PC.
We’ll apply the final look of our images to Pro LOG in the editing or color grading software.
What is a LUT?
LUTs are used with Pro LOG to give the final colour and look of your images.
Creatively speaking a LUT file is applied to footage in post to achieve a specific style or cinematic mood.
Technically speaking LUT stands for Lookup Table. The file contains a table of numbers like a database.
These numbers apply mathematical transformations to the image, altering its appearance on screen.
For such transformations to work well, a logarithmic curve is applied by the camera, which is where the
term LOG comes from. S-LOG (Sony LOG) for example is a logarithmic curve, which low contrast and
saturation (the “flat” look). This enables the compression of a wider dynamic range and wider colour space
into an 8bit XAVC-S codec.
A LOG format like EOSHD Pro LOG or S-LOG is not the same as raw video. A raw file contains the
unprocessed sensor data and all the image processing is done in post, even white balance and
debayering. With LOG, the white balance, gamma curve and debayering is performed in-camera and file
sizes are much smaller than with uncompressed raw video.
Grading LOG footage can be a specialised task, a role usually given to a professional colourist or team.
That’s why we use LUTs to quickly apply looks already created by a professional colourist. A LUT file is a
way to share looks between projects.

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The EOSHD Film LUTs
With this download, I’ve included 25 EOSHD Film LUTs made here at EOSHD for use in my own film
projects. (These are exclusive premium LUTs)
Each LUT is designed to give a distinct look and feel to footage shot on Sony cameras.

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A LUT is designed for a specific type of LOG format. “Pro LOG Cinema” for instance requires a different
LUT to “Pro LOG S” or “S-LOG”.
I’ve included LUTs for both Pro LOG Cinema and Pro LOG S.
Pro LOG Cinema LUT descriptions

1. Balanced
Offers a serious modern look, without too many stylistic changes to the norm.
2. BoostMids
Prioritises mid-tones - is able to boost the appearance of faces for example when too shaded.
3. Cinema78
A highly saturated and warmer classic Kodak-style film look favoured in Hollywood during the 70’s.
4. Cinema78 (Raised Blacks)

As Cinema78 but with creamier blacks and shadows.
5. Cinema78 (Saturation -1, -2)

Two less richly saturated versions of the Cinema78 look (depending on the scene and lighting).
6. Cinema98
Raised black level and milky shadows with a golden hue.
7. Cinema 2016
A modern digital cinema look favoured in the 2010’s with raised black levels and punchy saturation.
8. DynamicRange 1 and 2
A flatter look for when you need to maintain as much as the shadows and highlights as possible.

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9. Faithful (-1 / +1)
A balanced profile that matches Canon’s Faithful EOS style, useful for when you need to match Sony’s
colours to a Canon camera on the same shoot. -1 and +1 give different exposures. Further brightness
adjustments can be made after the LUT has been applied, for example with the exposure slider in Lumetri.
10. Highlight Priority

For crisp, punchy and defined highlights against an overall darker scene.
11. Ice Palace

Prioritises cooler shadows and tones, especially in low light.
12. NightShoot
Optimised for low light shooting and night-time scenes.
13. ProColor (-1/+1)

Matches the standard EOSHD Pro Color in-camera look! (-1 / +1 apply different exposure levels).
14. Shadow Priority

Prioritises detail and tonality in the shadows, which can be useful especially for a low light scene which is
too dark or too contrasty with the other LUTs.
15. Vivid
A highly saturated yet cinematic stylistic look.

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Pro LOG S LUT descriptions
 
1. EOSHD Chrome
A classic cinematic look with wide dynamic range, silky smooth shadows, naturally muted colours open to
a saturation boost if required, no colour cast bias to warm or cold.
2. EOSHD Scarlett 1
A velvia style film profile for extra punch, gives a warm cast and smoother skintones.
3. EOSHD Scarlett 2
Scarlett 2 is Scarlett 1 off a leash! Beautiful raised blacks with a less restrained saturation of red tones.
4. EOSHD Teal & Orange

Maintains cool tones and warm tones in one shot. Great for when you have a mix of lighting in the scene.
5. EOSHD Vivid Skintones

Gives a Canon-like energy and vitality to skintones. Gives talent a more flattering treatment in 4K.
6. EOSHD Plainview
Optimised for green tones, reduces the magenta cast of Sony cameras.
7. EOSHD Pull
Shifts an overexposed shot down to rescue the highlights.
8. EOSHD Noir 1920

A retro black and white look with raised black levels.
9. EOSHD WideDR1
Maximum dynamic range from the sensor with a beautiful warm bias to shadows, skin and faces.
10. EOSHD WideDR2

Maximum dynamic range with a more neutral colour balance. 

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Applying a LUT in your edit

For your editing software I recommend using Adobe Premiere as it has the best support for LUTs. If you do
not have Adobe Premiere I recommend Davinci Resolve 14.

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In Adobe Premiere CC
1. In Premiere add the Lumetri Color effect (from the Effects panel) to your clip (drag and drop).
2. In Effects Control panel for Lumetri, open Basic Correction (click down arrow).
3. Click the Input LUT box and browse to the LUT (“.cube”) file corresponding to the look you’d like use
(see screen shot above).
4. You can now make exposure adjustments and white balance tweaks in the Lumetri effect as well, for
each shot.
5. You can also Copy and Paste the same look to multiple clips on the timeline. Select a clip on the
timeline you wish to mimic the look of and use the shortcut for COPY (or right click and select Copy).
Now select the timeline clip(s) you wish to apply the look to and right click, selecting Paste Attributes.
In Blackmagic DaVinci Resolve

1. Copy the EOSHD Film LUT .cube files to Resolve’s LUT folder on your computer. The folder can be
opened from the “Project Settings” in Resolve, under “Colour Management Settings”. Also in this
control panel click the Update Lists button once you have copied the LUT file to the folder.
2. On the “Color" grading screen you can apply the LUT to clips individually by right clicking the clip on the
timeline strip and selecting 3D LUT. Browse to the EOSHD LUT file corresponding to the look you’d like
to use.
3. You can use the Copy and Paste short-cut to apply the look to all the clips on this timeline strip - simply
select the clip, copy (CMD-C), then select the other clip(s) and paste (CMD-V).
4. Alternatively you can apply an EOSHD LUT globally to all clips using the “Project Settings” window
option “3D Output Lookup Table” - select the EOSHD LUT in the drop-down box. 

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Applying a LUT using EditReady
EditReady is a great app for transcoding Sony XAVC-S 4K footage to ProRes on a Mac for more fluid
editing performance.
EditReady also allows you to apply a LUT to LOG footage, which bakes-in the final look to the ProRes file.
(Do not use this method if you wish to choose your LUT during editing instead).
1. In EditReady the option to apply a LUT is in the Additional Options menu.

2. Click the Edit button in the right hand side panel before you convert the clips and tick the box next to
the LUT option.

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3. When you press OK it will ask for the LUT file in the right hand-side panel.
4. Click the icon which looks like a stack of papers next to this and choose the EOSHD LUT file of your
choice.
EditReady is not a free app but is very affordable and well worth the money! The trial version can be
downloaded from http://www.divergentmedia.com/editready
It is one of the fastest apps in terms of performance, transcoding from one format to another using both the
hardware acceleration of your graphics card AND an Intel CPU. Most Intel CPUs contain hardware
acceleration for H.264 (X-AVC) video.
For the best compromise between image quality and file sizes, select the ProRes 422 (LT) codec option in
EditReady when converting the original Sony 4K camera files. The bitrate of this is higher than the camera
recording and selecting HQ or 444 will not add image quality over and above what is already there in the
8bit files. 

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Shooting advice for LOG

Pro LOG Cinema benefits from exposing at 0 on the exposure meter in-camera (that is to say in the
middle) or sometimes slightly under to protect the highlights. However Pro LOG S (S-LOG based) benefits
from exposing at least 1.5-stops to-the-right (+1.5 on the exposure meter in-camera).
The “M.M” number on the display meter should show 1.5 to 2 when using Pro LOG S and 0 when using
Pro LOG Cinema.
To maximise dynamic range with Pro LOG Cinema, try to shoot at the lowest ISO possible (i.e. 200) and
expose to protect the highlights. You can increase the brightness of the shot in post by up to 2-3 stops.
To maximise dynamic range with Pro LOG S, use the normal rule for S-LOG2, expose to the right, high
ISOs do not reduce dynamic range (i.e. 3200 on the A7S) and the minimum ISO is 800 on some cameras,
like the A99 II but higher on others (1600 or 3200). Therefore you may need strong ND filters (or very fast
shutter speeds) in bright light at fast lens apertures (i.e. F1.4).
The most natural look to motion occurs at the shutter speed of 1/50 for 24p and 25p.
Always avoid a darker exposure when shooting Pro LOG S / SLOG 2 as this will result in more noise in the
final image than using very high ISOs! Chose instead to increase ISO in-camera past 1600 if you have to
(in low light for example). Some noise in the very extremely dark areas of the image is normal with S-LOG
2.
Note: Sony stills cameras will disable access to the Silent Shooting mode and silent electronic shutter for
stills when an SLOG 2 Picture Profile is selected such as Pro LOG S. Avoid using SLOG-3 with Sony’s 8bit
cameras as ugly banding and posterisation may occur across plain areas of the image, such as blue skies
and painted interior walls. S-LOG 3 is designed for 10bit cameras. 

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For straight out of camera results

EOSHD Pro Color 3.0
For beautiful straight out of camera results
http://www.eoshd.com/pro-color 

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What is EOSHD Pro Color?
EOSHD Pro Color is an improvement to the default Sony colour science resulting in much better colour
and image quality straight out of the camera.
It is designed to deliver a final look, which can go straight into the edit and straight out with the finished
video. There’s no professional colour grading required with Pro Color. You can use EOSHD Pro LOG or S-
LOG for when you want to use a LUT or grade the image yourself.
This guide is all you need to apply Pro Color, there is no need to load a settings file (Sony doesn’t allow
this on their stills cameras).
Advantages of EOSHD Pro Color 3.0

• Truer, deeper reds
• Greater separation of green hues for more natural looking foliage and landscapes
• Greater separation of blue hues for better skies and better cool tones under warm lights
• Skintones, faces and people given a more flattering treatment
• Smoother and more film-like roll off to highlights and shadows
• Reduced colour clipping (prevents a blue object turning turquoise or green in bright light)
• Three preset profiles to choose from in-camera, depending on the shooting situation
Find out more at http://www.eoshd.com/pro-color

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1

EOSHD Pro LOG for

Pro LOG version 1.0 / 2017a

Copyright © EOSHD / Andrew Reid 2017

Advantages of Pro LOG Cinema

Advantages of Pro LOG S

Copyright © EOSHD / Andrew Reid 2017

Copyright © EOSHD / Andrew Reid 2017

The EOSHD Pro LOG Settings

PP1 - Pro LOG Cinema

PP2 - Pro LOG S

FS5 users: Select Middle instead of Wide for Black Gamma, +7

Copyright © EOSHD / Andrew Reid 2017

EOSHD Pro Color is the straight out of camera look http://www.eoshd.com/pro-color

Official sample video

Copyright © EOSHD / Andrew Reid 2017

Optional extra settings

Copyright © EOSHD / Andrew Reid 2017

2500K-3200K - Indoor light, keep white

3300k-3600k - Indoor light, keep ambience

Approx. 4400k - Coolest look to outdoor sunlight

5600k - Most scenes shot in direct sunlight

6000-8000k - Cloud, shade, evening light

Copyright © EOSHD / Andrew Reid 2017

Step 1. Scroll down to Custom Setup.

Copyright © EOSHD / Andrew Reid 2017

Copyright © EOSHD / Andrew Reid 2017

Copyright © EOSHD / Andrew Reid 2017

Other recommended camera settings

Mode dial advice

• Sharper magnified focus assist

Copyright © EOSHD / Andrew Reid 2017

Copyright © EOSHD / Andrew Reid 2017

The EOSHD Film LUTs

Copyright © EOSHD / Andrew Reid 2017

Pro LOG Cinema LUT descriptions

4. Cinema78 (Raised Blacks)

5. Cinema78 (Saturation -1, -2)

Copyright © EOSHD / Andrew Reid 2017

10. Highlight Priority

11. Ice Palace

13. ProColor (-1/+1)

14. Shadow Priority

Copyright © EOSHD / Andrew Reid 2017

4. EOSHD Teal & Orange

5. EOSHD Vivid Skintones

8. EOSHD Noir 1920

10. EOSHD WideDR2

Copyright © EOSHD / Andrew Reid 2017

Applying a LUT in your edit

Copyright © EOSHD / Andrew Reid 2017

In Blackmagic DaVinci Resolve

Copyright © EOSHD / Andrew Reid 2017

Applying a LUT using EditReady

1. In EditReady the option to apply a LUT is in the Additional Options menu.

Copyright © EOSHD / Andrew Reid 2017

Copyright © EOSHD / Andrew Reid 2017

Shooting advice for LOG

Copyright © EOSHD / Andrew Reid 2017

For straight out of camera results

For beautiful straight out of camera results

Copyright © EOSHD / Andrew Reid 2017

Advantages of EOSHD Pro Color 3.0

Pro LOG version 1.0 / 2017a 