Wow. Now, I'm REALLY looking at the ZV-E1 with a serious face. That shot at 20,000 ISO was insanely clean. Boy, it's tough to choose cameras right now.
I'm also doing an exposure test with a 2070g lens these days, and I'm back on the channel again. Nice to meet you. I think turning on the gamma function when shooting S-LoG shows the exposure according to REC709. So I just turned it off and set the LUT to 41 in S-LOG3, or I checked with the naked eye of S-LOG rat based on the appropriate 94 degree. The F4 aperture seems to be enough to shoot indoors at ISO 640 as well. And in my case, if the lighting is not tight, the dual-based ISO12800 definitely shows noise compared to ISO 640. It could be more because I've been testing it persistently these days. Anyway, I'm sharing the dense, good light-intensity lighting because it seems very important indoors.
Back and forth between the ZV-E1 and the A7s iii for real estate photography and videography. Just killing me how old the A7s iii is and will probably have a new model out next year, yet the prices for second-hand A7s iii are still insanely high.
Yo Sean. How did you do that shot with the car going normal speed, then it went slow mo, then back to normal. I gather that was done in post. Do you recommend certain frame rate if I were to do those kind of shots regularly? I love that effect and live downtown and want to start doing that with cars and moving objects.
I am shooting long day weddings fillms in London For video only do think I should purchase 3 x Sony A7 IV Or 3 x Sony Z1 E1? Does the Z1 E1 have recoding limit , how many minutes and will it heat up and shutdown ?
Enjoy the shoot, hope it turns out well Here is some info on overheating: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pnkjRfxPExg.html There is no record limit on the ZV-E1 outside of overheating considerations Regarding the a7iv or zv-e1, here is a video getting into some detail there: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qzxNvvVeJ1Y.html All the best
Great video thanks. Zebra levels on zve1 start at 70 as Ive seen. How can you have lower zebra numbers for different skin tones according to the chart then?
I am watching your video on the Apple Pro Display XDR in BT.709. Just so clean and problem free at the edge. Is this the same noise characteristics vs. A7S3 and FX3?
Hi Sean Thanks for the video liked and subscribed I was wondering and this might be a stupid question but how do you set the zebras and also the exposure when you are filming a talking head shot and the camera is more than your arm distance away so you can't reach the camera button? I struggle with this all the time and just end up settling on auto focus and AWB all the time which frustrates me
Hey Lee, thanks and welcome to the channel. I use an external monitor which helps A TON. Also, you can adjust the settings in the camera via the app as long as you can see the screen/zebras. This is the monitor that I use if interested: amzn.to/3O2Z6Rp
Hey mate, quick question - i can't find ZV-E1 listed as a supported camera on the Atmos Ninja website. Does that mini hdmi port have the same bandwidth as a full size hdmi. And if it does, or even if it doesn't, does it still allow you to record externally / use a ecternal monitor / tv?
Video ISO Settings, oh and my understanding is that I do not think Cinetone has the best dynamic range. a combined table with all the different ISO information and what to uses: Camera 1st Native ISO for S-Log3 Cine 2nd Native ISO for S-Log3 Cine Lower Native ISO for HLG3 Highest Native ISO for HLG3 Dynamic Range in S-Log3 Cine Dynamic Range in HLG3 Lighting Condition Recommended Profile Recommended ISO Sony A1 ISO 800 ISO 3200 ISO 125 ISO 640 14 stops 13.71 EV Nighttime HLG3 High (e.g., 640) Sony A1 ISO 800 ISO 3200 ISO 125 ISO 640 14 stops 13.71 EV Daytime Sunny S-Log3 Cine Low (e.g., 800) Sony A1 ISO 800 ISO 3200 ISO 125 ISO 640 14 stops 13.71 EV Daytime Overcast HLG3 Medium (e.g., 125) Sony A1 ISO 800 ISO 3200 ISO 125 ISO 640 14 stops 13.71 EV Twilight HLG3 Medium-High (e.g., 640) Sony a7siii ISO 640 ISO 12800 ISO 640 ISO 12800 14.9 stops 14 stops Nighttime HLG3 High (e.g., 12800) Sony a7siii ISO 640 ISO 12800 ISO 640 ISO 12800 14.9 stops 14 stops Daytime Sunny S-Log3 Cine Low (e.g., 640) Sony a7siii ISO 640 ISO 12800 ISO 640 ISO 12800 14.9 stops 14 stops Daytime Overcast HLG3 Medium (e.g., 640) Sony a7siii ISO 640 ISO 12800 ISO 640 ISO 12800 14.9 stops 14 stops Twilight HLG3 Medium-High (e.g., 12800) Sony ZV-E1 (estimated) ISO 640 ISO 102400 ISO 640 ISO 102400 14.9 stops (estimated) 14 stops (estimated) Nighttime HLG3 High (e.g., 102400) Sony ZV-E1 (estimated) ISO 640 ISO 102400 ISO 640 ISO 102400 14.9 stops (estimated) 14 stops (estimated) Daytime Sunny S-Log3 Cine Low (e.g., 640) Sony ZV-E1 (estimated) ISO 640 ISO 102400 ISO 640 ISO 102400 14.9 stops (estimated) 14 stops (estimated) Daytime Overcast HLG3 Medium (e.g., 640) Sony ZV-E1 (estimated) ISO 640 ISO 102400 ISO 640 ISO 102400 14.9 stops (estimated) 14 stops (estimated) Twilight HLG3 Medium-High (e.g., 102400) Please note that these values are based on the information available and may vary depending on the specific settings and conditions during shooting. Always refer to your camera’s manual for the most accurate information. The values for Sony ZV-E1 are estimated based on the shared sensor with the Sony a7siii and may not be entirely accurate. For the most precise information, I recommend checking the camera’s manual or contacting Sony’s customer service directly. Choosing the best ISO and film profile depends on the specific lighting conditions and your post-production workflow. Here’s a general guide: Camera Lighting Condition Recommended Profile Recommended ISO Sony A1 Nighttime HLG3 High (e.g., 640) Sony A1 Daytime Sunny S-Log3 Cine Low (e.g., 800) Sony A1 Daytime Overcast HLG3 Medium (e.g., 125) Sony A1 Twilight HLG3 Medium-High (e.g., 640) Sony a7siii Nighttime HLG3 High (e.g., 12800) Sony a7siii Daytime Sunny S-Log3 Cine Low (e.g., 640) Sony a7siii Daytime Overcast HLG3 Medium (e.g., 640) Sony a7siii Twilight HLG3 Medium-High (e.g., 12800) Sony ZV-E1 (estimated) Nighttime HLG3 High (e.g., 102400) Sony ZV-E1 (estimated) Daytime Sunny S-Log3 Cine Low (e.g., 640) Sony ZV-E1 (estimated) Daytime Overcast HLG3 Medium (e.g., 640) Sony ZV-E1 (estimated) Twilight HLG3 Medium-High (e.g., 102400) Please note that these values are based on the information available and may vary depending on the specific settings and conditions during shooting. Always refer to your camera’s manual for the most accurate information. The values for Sony ZV-E1 are estimated based on the shared sensor with the Sony a7siii and may not be entirely accurate. For the most precise information, I recommend checking the camera’s manual or contacting Sony’s customer service directly. S-Log3 Cine: • S-Log3 Cine is designed to maximize dynamic range, making it an excellent choice for high contrast scenes, such as daytime sunny conditions. • It’s also beneficial for scenes with both bright and dark areas, as it can help retain detail in both highlights and shadows. • However, S-Log3 Cine requires color grading in post-production to achieve a natural look. • For nighttime or low-light conditions, you might need to increase the ISO to a higher value, which could introduce noise. HLG3: • HLG3, on the other hand, is designed for displays that support HDR and doesn’t require as much color grading in post-production. • It’s a good choice for situations where you want to quickly share the footage without spending a lot of time on color grading. • HLG3 performs well in a variety of lighting conditions, including daytime overcast and twilight. • For nighttime or low-light conditions, HLG3 can also be a good choice as it tends to have less noise at higher ISOs compared to S-Log3 Cine.
Beware when using the exposing methods detailed here. Different picture profiles have different clipping points. For example if you were to expose Slog3 based on a zebra set to 100 this will most likely clip your highlights and not be recoverable in post since Slog3 clips at 94 IRE. Also the skin tone exposure of 50-70 is a rec709 value which means that when using a different gamma like slog3 that value will be different.
If you are primarily a videographer I would suggest the zv-e1 the a7 IV is a photography camera if you want high frame rates you will have a considerable cropping. If you do photo and video go with the A7IV if you just care about video buy the video camera.
I saw hunderds of reviews that says 12800 is the 2nd slog base... Moreover, I'm here because tonight I went out for the first time with my firstcam to try to shoot the sea and it was just terribly noisy crap - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-0kS1FlwFElI.html Where i'm wrong? S-Gamut3/S-Log3, XAVC SH 4K, 1/50, f 3.5, ISO 12800. Yes, it was in the evening, but it’s not a black night in the dark... I don’t understand how people take amazing shots of sunsets etc that are much darker almost nightly...
Shoot - wish I saw this sooner. What did you go with? I prefer the ZV-E1 due to it being full frame but the FX30 does out perform it in a few areas like long format recording
