Alister Chapman has written a very useful guide to shooting in S-Log2, specifically on the A7s. The A7s has it’s own unique ways of utilizing S-Log color space and there are some tricks that are specific to that camera. Read a sample below and the full article here.
The post production adjustment of S-Log2 is very important and one of the keys to getting the very best finished images. The S-Log2 recording acts as a digital negative and by “processing” this digital negative in post production (normally referred to as “grading”) we manipulate the large 14 stop dynamic range of the captured image to fit within the limited display range of a Rec-709 TV in a pleasing manner. This may mean pulling up the mid range a bit, pulling down the highlights and bit and generally shifting the brightness and colour levels of different parts of the image around (see PART 2 for more post production information).
Originally Slog-2 was designed for use on high end digital cinema cameras such as Sony’s F65 camera. These cameras have the ability to record using 10 bit data. A 10 bit recording can have up to around 1000 shades of grey from black to white. The A7s however uses 8 bit recording which only has a maximum of 235 shades from black to white. Normally 8 bit recording is perfectly OK as most transmission and display standards are also 8 bit. Shoot with an 8 bit camera and then display that image directly via an 8 bit system and nothing is lost. However when you start to grade and manipulate the image the difference between 8 bit and 10 bit becomes more significant. Reposted by Eric C. Petrie