Remapping something in log space is a way of manipulating data. It gives us the ability to squeeze (compress) more stuff into the same amount of space. If we could take the linear sensor data and convert it to non-linear (log) data, we should then be able to increase the dynamic range recorded by the camera.
So how do we convert our linear image to a log image?  We use what is known as a Gamma function, and you guessed it,
S-Log is a Gamma function.
If you read the official Sony literature it explains that ‘the S-Log curve provides sufficient quantization bits to offer exceptional tonal reproduction in both the low light and high light region’.
If like me even just trying to say quantization hurts your brain, don’t panic. What we as cinematographers need to know is that shooting in log means capturing greater dynamic range… and that is really all we need to know. *
Using a camera in log mode, does necessitate the use of a viewing LUT for accurate monitoring on set as the outputted image is low in contrast, and it does mean that some colour correction is vital as part of the rushes / editorial process (as if it wasn’t before). However the bottom line is that once an image is captured in log it can be post processed with similar techniques as those employed for film originated material, making the conceptual leap to shooting log far easier to make for the, (cough), more mature cinematographer.
Since S-Log can supposedly reproduce the entire tonal range captured by the camera sensor it is sometimes referred to as a ‘digital negative’. Personally, with all the processing involved I prefer to think of it more as a ‘low contrast digital print’, leaving the digital negative title for RAW, but that is just me.
More dynamic range?
So back to the test, how much extra dynamic range does the S-Log curve allow you to capture?  The short answer is a lot!
Rather than try to describe the differences between the various shooting modes of the Sony F3, below are a selection of frame grabs photographed as part of the testing.
As always, test for yourself.  However these images are a great starting point for your venture into S-log shooting.
*For the pointy heads in the audience, quantization is the process of converting a continuous range of values into a finite range of discreet values and is a function of analog to digital converters. The converter creates a series of digital values to represent the original analog signal. Bit depth determines the accuracy and quality of the quantized value.

709  Auto Knee Off

709 Auto Knee On

Cine Gamma

S-Log

Conclusion.

It is pretty obvious that the S-Log allows for much more information in the highlights. My feeling over all was that the S-Log affected the mid, 1/4 tones and highlights much more aggressively than the ¾ tones and blacks.
An interesting aside is the difference between turning Auto Knee on and off. Clive the engineer from Sony whose brain is like Marvin’s from ‘The Hitchhikers Guide to the Galaxy’ explained it in a way that seemed entirely obvious but I still really have no idea why it was so… however the visual difference was quite surprising… I do believe however that using Auto Knee in more high contrast situations will give different results… so as always… test, test, test.
Bottom line… is  S-Log a worthwhile upgrade for the F3?…
Absolutely, it is a completely new camera with the addition of S-Log. Not to mention the 4:4:4 recording that also comes with the firmware upgrade. This is no longer an EX-3 with a big chip.

Footnote.

If you want to know more about working and grading in log, I recommend reading Mike Most’s blog, which you can find Here

Picscan does not help you manipulate exposure of the RAW on set, neither does it address the fact that on set monitoring is still limited to Redspace or Rec709, (I am ignoring RAW viewing). It does however allow the creation of rushes that show the DP’s intent.
Picscan can be easily used by your DIT on set or via a more traditional post path, with rushes being generated by the post house.
So how does it work? The simplest way is to leverage as much of the free software supplied by RED, in this case RedCine X, as possible.
The Picscan frame leader which consists of an aspect ratio chart and greyscale chart is photographed during camera prep, following the Picscan instructions which come with the frame leader system.
Each chart is shot at a desired colour temp (usually 3200 and 5600) with meters set at desired ISO. The camera ISO is set at its default 320. Meter ISO can be any where between 160 and 320 depending on your interpretation of the REDONE’s (generous) ISO rating.
To shoot the chart for different ISO settings, for instance if you intend to push or pull the image as you would with film, open or close the aperture accordingly and rephotograph the chart.
I like to do this in ⅓ of a stop intervals up to the equivalent of 500 ISO. In that way if I decide to over rate the camera I can do it using the Picscan chart later rather than adjusting the ISO in camera. Adjusting the ISO in camera seems too quickly change the colourimetry of the image, adding colour casts and noise and producing less than satisfactory results.
Remember it is all metadata anyway so adjusting ISO in camera is not changing any of the information captured by the sensor in the first place.
Once all your iterations of the chart are captured it is time to ingest them into RedCine X (from now on referred to as RCX). You can use it in other programs such as 3CP, however most people have access to RCX.
With RCX open you need to set camera colourspace to Redspace and the gamma space to Redlog. I have tried other camera colourspaces such as camera RGB but found the saturation to be too low.
Using a video I/O card the next thing to do is to attach a wave form monitor to RCX. It is necessary to have a waveform showing RGB parade to set up the Picscan charts correctly. I have even used an external monitor with a waveform built into it.
Using the waveform, set blacks of Picscan chart just on or above 0, whites just over 600mv and gamma at 280mv-350mv depending on the density of the midtones you want.
Use the RGB parade to balance out any colour casts. Needless to say the monitor you are using through out this setup should be calibrated and profiled.
Store the finished chart as a preset in RCX. I use the ISO and colour temp as a reference for the chart… eg Picscan_250T_3200, Picscan_200D_5600 etc…
You now have a Picscan stored for each of your ISO/colour temp combinations.

To apply the chart to your footage, import your R3D file from camera into RCX and apply the appropriate Picscan reference. If necessary adjust the highlight (gain) control to bring back detail in highlights. As only highlights are being adjusted, it is quite possible to use just the histogram and your eye although it is ideal to have a waveform monitor connected.
If the colour temperature used to photograph the scene is different from the Picscan standard, it can also be adjusted here using the colour temp slider in RCX to match the camera colour temperature metadata.
Finally output rushes to desired format. I prefer to keep everything in HD and as data for my rushes, however SD DVD’s are still preferred by a lot of productions for rushes distribution.

The next challenge with the RED camera will be to apply these looks to the onset viewing path, and to transmit the Picscan information as metadata for the later conform of the R3D files, however for now Picscan goes along way to creating accurate rushes that not only transmit the DP’s intent, but allow consistency of image from the set to the screen.

The latest in the evolution of the Camera Department is the addition of a DIT – Digital Imaging Technician. The DIT role should not be confused with that of Data Wrangler. 
The Data Wrangler role is a limited one, restricted to copying and backing up data, managing data and deleting camera cards and hard drives. Ask your Data Wrangler to perform any evaluation of the captured footage beyond verification of the backed up data and you are asking too much of them. 
This can leave a Data Wrangler with not much to do and more often than not the job is passed (in)conveniently to the 2nd AC.
Enter the DIT. A Digital Imaging Technician does everything a Data Wrangler does, backs up footage, verifies backups, manages data and deletes camera cards and hard drives, but more importantly they offer an array of skills aimed at evaluating and finessing an image. 
Colour correction, look creation, exposure evaluation, focus assessment, technical analysis, one light rushes, editorial generation, stills and post reports, basic editing and compositing can all be part of the DIT’s job description.
On-set image manipulation is one of the great advantages of Digital Cinematography,
 and with this level of command there is the opportunity to set up sophisticated image control and tightly integrated workflows from day one, simply and consistently.
In fact given that a DIT has a far greater understanding of the digital production process than most (including Producers and DP’s), they can offer independent advice regarding tailored workflows for your particular project before you start shooting, advice that can save significant pain and money later.

For Cinematographers it is an ideal setup. Look management, LUT creation and one light colour corrected rushes are all possible by way of calibrated monitoring and grading software and it is simple process. Those worried about complicated time consuming onset colour correction need not be concerned.
Look management allows a consistency of vision from rushes through editorial to final grade. Many of us have had to fight for a look to be re-established when months later the footage on the avid has become the look of the film in everybody’s eyes except the DP’s. The DIT can also check clipping, focus and recording errors as the footage comes off the camera and create stills and reports for the Post house.

For Producers it is money in the bank. Onelight rushes can be produced during the day and be available for viewing before the lasts truck leaves set. Rushes clearance can be given for a set or location minutes after the last shot is in the can. Any problems with footage can be sited during the day and camera problems can be sorted with the minimum of fuss. The detailed technical checks and verifications that a DIT can perform are serious examinations of the data and represents relatively inexpensive neg insurance. 
Add to this delivery of footage for editorial, select takes and syncing of sound and you are talking major savings in time, which of course means money.

For Directors a DIT on set represents clarity and consistency of vision. Accurate images throughout production and postproduction, full resolution playback on-set that doesn’t tie up the camera, even rough edits of sequences and quick composites if required.

A DIT skill set goes deeper than basic IT skills, in fact it starts with good IT skills and adds good post production skills. This extends to some of the more arcane areas of digital capture. Recognizing good and bad Debayer for example. This sort of in depth analysis of the data can head off problems that may manifest themselves further down the post path. 
And when for some unforeseen reason beyond anyones control it all turns pear-shaped, (and it will, we are talking about computers here) a DIT has the depth of technical understanding to get you back to Prego for your next lunch with the client.
What’s that worth again?

And it is often only too apparent with a generation of people who have trained in video.
Before I go any further let me say right now that I am not video bashing…
Having started out shooting video and having moved on to film and now shooting with the new digital cinema cameras, I can say it is a fundamental shortcoming in the process of learning to shoot using a monitor.
It is all too easy with a video camera not to see the picture that you are really shooting. You frame and light off an image on a monitor, using the monitor as the minds eye. The monitor interrupts the path between eye and brain. It stops you from seeing. The brain is often ignored or at least given only a cursory invitation to be involved.
A film camera dictates that you have to learn how to see.
There the image sits on the ground glass waiting to be translated onto celluloid. But you have to really see it to translate it. You have to understand how the values of light and dark will appear on the negative. You have to analyze every portion of that frame and understand how it will reveal itself when processed.
It is not a cursory look at a two dimensional representation of the scene, but an in depth analysis of every element within the frame. An analysis that when well practiced happens instantaneously and occupies the brain on a much deeper level.
Again this is not a film vs video debate it is a discussion on the learning of the craft of cinematography.
Take a leaf out of the old school book and really look and see what you are shooting. Not on the monitor but by looking at it right there in front of the camera. Really see it. Unplug the monitor and light it with the only light meter you should light with… your eyes. Sure set your final stop by plugging your monitor back in or waving your light meter around but don’t light this way.
You could argue that film is dead and this is an old fashioned approach… but good cinematography is good cinematography no matter what the format.
And the future still has room for a little bit of old school. Cameras like the RED dictate the use of the eyes and the necessity of seeing. Sure there is a monitor, but if you light off it you will be sorely disappointed. Use your eyes and then use your meter, the monitor and the graphs to allow the final setting of the stop. And with the RED camera 1/3 of a stop can make a big difference
The more you can train your eye to see with accuracy and consistency the better your pictures will be. Not to mention the pleasure you will derive from great craftsmanship.

What I like the most in the above paragraph is the word fraternity.
The most powerful idea behind a Cinematographers society is the idea of like minded people getting together as a group and sharing.
Sharing ideas, sharing techniques, sharing artistry, and cementing a bond among a brotherhood of Cinematographers… a collective human spirit channeling its energy in a single direction and advancing the art of Cinematography.

A group such as this is worth being part of. It is worth putting in some effort to belong.

We all believe that Cinematography is important but we practice it in many different ways.
To meet and share with others practicing the art and craft is a necessary part of our growth… it always has been. How could we have started out without the guidance of others and how can we maintain our enthusiasm without the inspiration of others?

To belong to such a group should ignite a passion to be the best you can be. And this leads to one of the Pillars of the ASC…. accreditation.
The letters ASC after a Cinematographers name denotes excellence. It is a benchmark that tells Cinematographers and non Cinematographers alike that a world class standard of work can be expected.
It indicates that a Cinematographer has made real advancements in the art and craft of visual story telling.

For a Cinematographers society, the standard that is accreditation should be seen as a path to excellence. It should not give rise to feelings of elitism, or be divisive, it should bring us together as Cinematographers rather than drive us apart.

Accreditation is not the reason to reach for that excellence. It is there to remind us of the excellence we are all aspiring to.