![]() False color paints colors over the entire image representing different exposures. Most of these will offer waveforms and false color. That’s it for in-camera options, but if you want even better tools you will need an external monitor. You will want to bump down when they are showing on the main subject, though having a little show isn’t the end of the world either. This shows that once your main subject is showing zebras you are hitting the upper limit. The standard setting is 75 with a +2 range. The C2 setting is for checking the highlights. ![]() This will help you nail midtones as you can watch the zebras show up and know you might be on the way to clipping if they start to disappear. ![]() In Jacques case, he uses C1 to set a zebra to show at 50 with a +2 range. These will show up when you hit certain exposure levels. If you want to check how the entire image looks and is exposed you should turn on zebras. In these cases if you switch to the spot meter you can check exact spots on the image, such as skin tones, to more accurately meter your shot. Having the sun in the back or simply a light will trick the meter into thinking it is too bright. In particular, bright highlights are a problem. Where the metering modes don’t work is if you have extremely bright or dark areas filling a large portion of the shot. ![]() Overexposing will save you from some noise in the shadows, but you will give up some range in the highlights. However, on these newer cameras going with something closer to +1.0 can be better as it’ll better represent the skin tones. Generally, it has been recommended to overexpose by +1.7 to +2.0. If your shot is fairly balanced then the metering modes are a good option. This will apply a display LUT that makes the image look “normal.” If you are coming from monitoring footage this way with other profiles you will feel at home, though you might want to manually set display brightness to +2 for consistency.įor metering modes, you will want to stick to the Multi option as it provides general metering of the entire image. Working indoors or in controlled light you can use your eyes along with the Gamma Display Assist setting. Jacques doesn’t recommend using your eyes all the time since it is far from ideal, but also points out that having an external monitor, while nice, isn’t essential to get started. There are a collection of tools available to judge exposure: Jacques actually recommends using this profile all the time because of how much better it is in regards to things like dynamic range. This S-Log3 exposure guide will apply to even newer cameras, like the a7 IV. Working specifically with S-Log3 on the latest Sony cameras filmmaker Jacques Crafford has put together a nice guide on proper exposure techniques. Now, cameras like the a7S III and FX3 feature excellent quality codecs and newer log options, so its another learning curve to figure out how to expose them. This resulted in a lot of people recommending overexposing and other nonsense. Think about how the first mirrorless cameras with a true log profile were stuck with 8-bit footage, which can be problematic when you try to push the grade. Among the biggest battles with mirrorless cameras gaining pro video features has been how to best work with log footage.
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