Bit depth retention in RAW conversion
A common concern when converting RAW still images into S-Log or S-Gamut is losing bit depth, as S-Log video is often recorded in 10-bit while camera RAW files contain up to 14 bits. The thread clarified that converting the colour space inside grading software like DaVinci Resolve does not discard bit depth. The software processes the underlying RAW sensor data internally, using S-Log simply as an intermediate working gamma curve and colour gamut.
Why convert stills to a video log space?
The primary reason for transforming stills into S-Log is workflow consistency between photo and video assets. Main points established in the discussion include:
- Seamless integration with existing video PowerGrades and LUTs designed for S-Log video footage.
- A consistent scene-referred starting point across mixed-media timelines.
- Identical highlight and shadow recovery compared to working in Rec.709 or sRGB, provided Color Space Transforms are set up correctly.
Managing highlight clipping and tone mapping
Testing shared in the replies demonstrated that overexposed RAW highlights remain fully recoverable in an S-Log working space when pulled back with curves. However, users should be cautious with tone mapping settings inside Color Space Transforms, as aggressive tone mapping can inadvertently compress or clip dynamic range.