XAVC S-I, S-Log3, and 60fps: My Complete Sony Filming Setup
When I first got into video alongside photography, I made all the classic mistakes.
I shot in XAVC HS, assuming “HS” meant highest quality. It’s still a good codec, but I picked it because it was at the top of the menu—so that had to be the best, right?
I set my timeline to 24fps, because I’d heard that’s the “cinematic” standard.
Sony’s menus don’t help. Press the trash-can info button and you get a vague sentence—not an explanation. I learned more by trial and error than from any official source.
If you’re stuck figuring out which codec to use, what frame rate to shoot in, or how to get the most out of S-Log3, this post is for you.
I’ve spent the past year refining a workflow that actually works—for cinematic wildlife and behind-the-scenes filmmaking, aimed at YouTube and social, but treated like real filmmaking.
Sony gives you a ton of options—XAVC S, HS, S-I… 8-bit, 10-bit, 4:2:0, 4:2:2, Long-GOP, All-Intra. It’s a mess if you don’t know what you’re doing.
So here’s what I actually use—and why.
Step One: Use the Right Codec
You don’t need to memorize every technical spec. What matters is what you’re shooting for, and how far you want to push the footage in post.
My use case: wildlife in motion, shot handheld or long lens, often in harsh light, often in remote areas. Quality matters more than saving card space.
What I use:
| Format | Compression | Bit Depth | Chroma | Why |
|---|---|---|---|---|
| XAVC S-I 4K | All-Intra | 10-bit | 4:2:2 | Highest quality, best for motion, easiest to edit |
I shoot everything in XAVC S-I 4K, even if it’s heavier. It’s worth it. Cleaner motion, no Long-GOP decoding issues, and every frame stands on its own. Perfect for wildlife, handheld work, and precision in post.
Why I Shoot Everything in 60fps (Even When Delivering 30fps)
Most people think 60fps is only for slow motion. But I shoot everything in 60p, because it gives me control—without committing in the field.
What it gives me:
- Real-time or clean 50% slow motion—decide in post.
- More stable motion—less judder, smoother handheld work.
- Better stabilization—software has more data to work with.
- Cleaner cadence for wildlife—especially with movement-heavy subjects like cheetahs or birds.
It’s a one-size-fits-all capture method. My timeline is 30fps, but the footage is always shot in 60p. I no longer waste time switching modes or second-guessing. Just hit record.
A Note on Color: Back to S-Gamut3.Cine
Initially I switched from S-Gamut3.Cine to S-Gamut3 to maximize the color space. Technically true—but not necessary for most of what I do.
Here’s where I’ve landed: I’m back to S-Log3 + S-Gamut3.Cine.
Why?
- It’s much easier to grade, especially for SDR delivery.
- Color space is big enough—covers more than Rec.709 and still gives you flexibility.
- Works better with most LUTs.
- Unless you’re delivering in HDR or ACES, going full S-Gamut3 just complicates the grade for no real gain.
Unless I’m shooting something specifically for HDR mastering, S-Gamut3.Cine is my standard. It’s reliable. It works. And it’s easier to make the footage look beautiful without overbuilding your post pipeline.
My Standard Wildlife Video Workflow
| Step | Setting |
|---|---|
| Record | XAVC S-I 4K / 60fps / 10-bit / S-Log3 + S-Gamut3.Cine |
| Shutter | 1/125 (or 180-degree shutter angle) |
| Timeline | 30fps |
| Delivery | 4K30 for YouTube or social |
| Post | DaVinci Resolve Studio |
Final Cheat Sheet
| Situation | Format |
|---|---|
| Best overall quality | XAVC S-I, 10-bit 4:2:2 |
| When storage matters | XAVC HS, 10-bit (if your computer can handle it) |
| Quick edits / compatibility | XAVC S, 8 or 10-bit |
| Best capture fps | Always record 60p |
| Edit timeline fps | 30fps |
| Color for SDR | S-Log3 + S-Gamut3.Cine |
| Color for HDR | S-Log3 + S-Gamut3 |
One Last Thought
In wildlife work, there are no second chances. You either get the moment, or you don’t. That’s why I built a workflow that prioritizes flexibility, stability, and maximum image quality.
Yes, it’s heavy. It demands fast cards, big drives, and more discipline in post.
But the payoff? You walk away with the best version of the moment—and in the end, that’s what matters.
If you just want to shoot and share, there are easier ways. But if you care about cinematic quality, consistency in the field, and creative control in post—this is what works.
And for me, it works every time.