One small note: for a darker scenes usually is a good idea to expose to the right for a 1-2 stops when it is possible, and then bring down image in post, to reduce noise. When applying this to the method you are recommend it just means you need to make two different luts for on set usage - one for normal scenes, and one for dark scenes, when most of the frame is below middle gray.
Yeah, that’s right! I normally shoot dark scenes with a lower Exposure Index normally 500, and then lower it in post. Some cameras don’t require that. Normally the Alexa is pretty clean at 800, but with Sony I agree with you if you want a clean dark image is best to overexpose a bit. The thing is that a lot of people when they talk about overexposing they don’t compensate for it with the monitoring (as you said making a lut that brings the exposure down by one stop will make you over expose by exactly one stop and it’s the right workflow). But most people just overexpose and see a brighter image and then lighting decisions and relationships are hard to judge. I hope it make sense hahah. Thanks for the support :)
I normally shoot low light too. I set my iso on my a74 to 800 for darker scenes when shooting, but before I shoot I bring it down to around 500 to 600 to set my exposure ratios by using false colors on my monitor, then I bump back up to the base iso 800. Some times when bumping back to 800 after setting your exposure ratios you may find that your highlights maybe clipping according to false colors. I slowly continue close down my aperture until I no longer see any clipped highlights.
@@braxtonwoullard1188what do you mean that you bring it back to 800? Not the iso right!? You mean darken in post? Isn’t 800 a sweet spot to shoot at? I am confused!
@@nostalgia_boxbumping the iso doesn’t actually make you expose to the right. It just boost the signal making it brighter but you’re not hitting the sensor with more light. This is a common misconception. The only way to properly expose to the right is to have more light on the scene or opening up the lens or using slower shutter speed (but that would also change the motion blur in video) Cheers :)
I really loved listening to you, English is not my first language but the way you speak and explain your self it's just perfect to understand. Thanks a lot for shearing your knowledge with us and to make such a good video
Thanks mate very helpful. If you shoot in log with the Sony SLog3-to-Rec709 LUT applied in-camera / previewed- is it possible to then add a stylised LUT on top of this in-camera? Or is it best/possible to just use the stylised LUT preview directly on top the log profile?
Thanks man! No, when using the EL zone system the monitor switches off the LUT, the EL zone needs log as input and specifically the Log of your camera (normally you specify that on the monitor) I use it on the Ninja V :)
what if I use a monitor lut, but i'm not sure what to set my monitors screen brightness to (currently at 20% brightness)match my cameras exposure. Inside is accurate but that same monitor brightness outside is way too low and if i crank the monitors brightness up. It doesn't match my cameras actual exposure. Great video btw!
I don’t think that possible unfortunately but I might be wrong. The solution would be to use an external monitor to load LUTs on (expensive but worth it in my opinion)
It’s printer lights. In resolve it would be the offset wheel. Printer lights traditionally are adjusted in printer points. So if you use the offset wheel which is set to RGB values of 25-25-25. A point of red would be 26-25-25. All of this to say that it’s just a small offset wheel adjustment. The most basic adjustment you can do :)
@@jimmyonfilm Thanks for the detailed answer Jimmy! When you say printer lights, that makes sense to me now. I wasn't thinking of printer lights when I heard "point the red" 😆
That make sense, if you like false color check out the EL System it’s pretty cool and it works in stops of light instead of IRE values which in my opinion makes it more universal. I prefer to make my lighting decisions looking at the how the final image is gonna look like as I feel like I’m not restricted by numbers, but it’s a matter of preference 😊
Thanks for the video , i have a question : I grade in Davinci Resolve with DWG timeline Color Space and i have some LUTs that exported from DWG color space, can i use them with my A7Siii? or is it even possible?
Hey! Yes you can but you would need to concatenate the DWG LUT with 2 color space transform. One before the LUT to go from SGamut3.cine/Slog3 to DWG and one after the LUT to go from DWG to rec709. Basically adapting the LUT to what the camera outputs and to what the display expects. It should work properly :)
Bro I had the same problem. I just configurated my camera monitor with his own built in exposure and contrast settings so it matches the end production my computer after I put my correction lut on it. I needed 10 try’s but now it’s kind of accurate
@@theowlfromduolingo7982 it’s a printer light point. In davinci resolve it’s the offset wheel which is default at 25-25-25 RGB values. A point of red would be 26-25-25
Hey I’m Italian too! Un punto di rosso si riferisce ai printer lights, in resolve sarebbe l’offset wheel che di default è settato a 25-25-25 RGB. Un punto di rosso vuole dire che viene aggiustato a 26-25-25. Praticamente l’aggiustamento di colore più semplice che possa esistere
