I used to always ONLY shoot at base 640 and 12800 before, can someone help me understand what the difference is now if I was already only shooting at base before?? If with this new update I don't change exposure index at all, then basically the workflow is almost the same as it was before (considering I always shot at base) correct? Maybe i'm overthinking this
I’m kind of on the same page. Does EI allow you to control SS and AP to adjust for your image, or is it locked to the frame rate that you are shooting at? Interestingly enough, the update completely removes SLOG2 from the camera. I wonder why Sony abandoned it. Maybe they finally are admitting that it was a joke this entire time.
I’m with you, really confused as to how effecting the EI helps at all, surely you’d want to see the image you were capturing as it’s being captured. Why would I want to see something else and risk messing up the footage? I understand shooting at base ISO or second base to maximise dynamic range, beyond that I’m lost as to this use
Same, been doing photography for almost two decades and I don’t see the point. My take is that when something is this hard for people to explain - it is a bad idea.
2:37 This takes me back... Few years ago I was shooting a mini-documentary for a news station and they explicitly requested the FS7 with Slog3. I told them that the image would have to be properly graded in order to look good, they said yeah sure, and so I went and shot Slog3, utilizing all of the waveform monitor. A couple weeks later I watched the final documentary and what do I see? A generic 709 LUT, completely blown out highlights and noise all over. So frustrating, especially since they of course blamed me for screwing up the image while shooting. Thank goodness they didn't call back ever since.
This is why I always send a readme file with an explanation how to handle footage or certain filetypes with contact information if they need further assistance. It's a simple solution and will help you as well as the client. I wouldn't trust a news station with grading anything since they usually never do that and the editor properly wouldn't know how to deal with log footage. Communication is key even if it doesn't feel like it's your job or 'is very obvious' sometimes.
@@annekedebruyn7797 I think we need to write a very quick and easy to understand guide for editors that every shooter could share. Also, with the plugin catalyst Prepare that should be coming very soon for PP (and we all hope also Davinci Resolve), let's hope things will get easier.
This video is so well done! It's been frustrating seeing the back and forth in the community and folks just all over the place trying to explain CINE EI. I've tried the FX3 before and didn't care for it. But after shooting with the FX6 for over a year now and watching the v2 firmware announcement, I immediately ordered and FX3 for a second go around. I think Sony can add a few more things to and really make it a complete setup, but it's nice having a b-cam that operates more like the FX line versus a A7 camera. Just SUBSCRIBED and looking forward to going through your past content, nerding out and supporting a fellow BIPOC creator.
This is what I need. I have the Fx3 and need to understand more about it. Mainly because I want to film in my garage, purposely keeping the lighting low for a cigar room effect but need to understand the new update. Before the update I filmed in s-cinetone or to my ninja v in prores raw. But I want to try the cine
Great video and very well explained. There’s just something I‘d like to point out to avoid any confusion. Only lowering (or raising) the EI won‘t get you any more dynamic range in the shadows (or highlights). Changing the exposure by opening (or closing) the aperture or by removing (or adding) ND is what actually allows you to shift the DR into the shadows (or highlights). Technically you wouldn’t even need to change the EI at all as it‘s just a guidance for monitoring exposure. You mentioned that briefly at the beginning of your video but I thought it would be good to clarify that once again just to make sure.
So finally, the ideal - for the final image quality - is to shoot at 800 or 12400 Iso (in low light) and adjust your aperture or ND filter when you shoot. That seems to me to be the basis. I never touch the native Iso. Am I wrong?
Yeah I still don’t understand it, I think because the guy in the video starts talking about how it affects dynamic range. That shouldn’t be possible. Exposure affects DR and latitude at base ISO, nothing else. So I still don’t see the point tbh.
I'm just handing over log footage daily, so I try to stay at base iso levels, but with CineEI mode now I was able to change the top ISO button to just switch back and forth between the two bases, instead of having to dial through all the numbers to go back and forth. Much quicker and nicer for me. The timecode however has proven problematic. In my tests so far the camera is always 2 frames ahead of my timecode box ... using audio timecode from the same box, it is accurate. Another thing I noticed was for wireless monitoring ... I've been using the Monitor+ app for easy monitoring and touch-tracking off my phone, adding luts there and using their waveform to monitor the log signal ... at least in CineEI mode now, the wireless signal seems way glitchier and it is hard to connect. Also, if you have a camera LUT on, it bakes it into HDMI out as well as the wireless signal. You also can't chose to have the exposure tools reading the log signal while the lut is on.
But at the end of the day your recorded footage is only at one of two base ISO's 640 or 12800 (or whatever profile you are in base). So the adjustments to the footage are going to be the same regardless of what you set your EI to. It's basically a safety net at each exposure to simply preview what you can do in post. I'm on an a1 and a7Siii so I don't have it to play around with but I only shoot base ISO and use ND and aperture for exposure where needed. This looks like a great feature none the less!
3:52 when you shift the ei it does not shift the DR allocation. It does nothing to the footage. It does not give you more range in the highlights if you bump it up like how the Alexa does.
Why did you buy a mini LF instead of Venice 2? Since you have all of Sony’s other cameras
2 года назад+1
Just bought this camera, and days after came this new firmware. Very cool. Still waiting on few things tho, shutter angle, and true 24, 30, 60, 120p. Also we need a 3.5mm to microUSB timecode cable for those tentacle sync or deity tc-1 timecode boxes.
So basically, by having a setting that doesn’t bake your ISO choice into your footage, you can then use iso as a tool to ‘trick’ you into over or under exposing your image in order to get more dynamic range in post? So, it’s kind of like the same principal as rating film on a stills camera. Rate the camera below the base iso if you want to favour protecting shadows (as you will increase your exposure as a consequence to get what looks to be a balanced image), and rate it on or above the base iso if you want to favour protecting highlights (as you will end up lowering your exposure as a consequence to get what looks to be a balanced image)? What I’m struggling to get my head around is the part where you talk about having a single EI for an entire project, how can that be possible when a project may have scenes of varying lighting conditions where you will need to over expose or under expose from one scene to the next? How do you maintain the consistency for an editor then? Or do you just pick two iso levels to work with for the entire project for each outcome and communicate that with an editor?
Quite simply, shoot everything at native ISO. Unless a editor/colorist is looped in on exposure decisions, the easiest solution is to not change your EI at all.
Fanastic explainer! Have you noticed if the Cine EI mode (or V2 as a whole) has reduced the internal noise reduction on the FX3? I prefer denoising in post, or sometimes I just prefer the image to have some texture.
so its just basically only using two base ISO now. I guess we could have done that with setting the past into one of those bases. Now it seems its 800 vs the older 640. I wonder if it really is 800 or they just wanted to make it match with the F6 and F9. So I can see the changes in exposure but its just a reference and not actually changing the ISO. So really having a variable ND is best.
I still dont really understand the EI tho. Im just recording at 800 and 12800. If its to bright at 12800, i could lower the EI??? Right now i just stop down or use some ND.
Hey Robert, what do you mean by 'rate down'? If you go to 12800 and rate down to 3200, does it mean you rate down via EI and open the aperture even more, effectively overexposing the 12800? Or does it mean to 'rate down' that you switch to the 12800 Base and then lower the ISO to backe in 3200??
you think its possible to match the fx3 to fx9 slog (fx9 slog after color grade looks much better in my opinion) only with the internal picture profile settings
I am a stills shooter making my way over to film with the FX3 as my current beast. This was a great explanation of Ei. Its still messing with my head a little but I now understand the concept. 8-)
I believe recorders would essentially bake in the monitor LUT since you're recording the output feed. It would treat it more or less like Flexible ISO.
Changing the EI doesn't actually shift the dynamic range from the highlights to the shadows and vice versa. It's a tool that you can use to help you determine the proper iris and ND filter settings, which is what causes the shift the dynamic range. For example, if you want a shot to look darker (less detail in the shadows, more detail in the highlights), you would adjust your iris or ND filter to decrease the exposure by 1 stop. That's it. More highlight detail, less shadow detail. You can then increase your EI by 1 stop to cause the image to appear more "neutral" (1 stop brighter than it is actually being recorded). The only thing that changed is the exposure; the entire image is now 1 stop darker, but it appears to be the same exposure on the monitor because the EI was increased by 1 stop.
Hey Robert, a much better feature of the update is the possibility to use custom MLUTs. So it is finally possible to have a false color mode. This works in harmony with the Cine EI mode :)
@@eware3000 Sure. But since my last detailed answer got deleted by RUclips (I suspect because of the external links), you'll just get the simplified version: Create a LUT with an appropriate tool (e. g. LUTCalc by cameramanben), import it to the FX3 (explained by Sony). I use a custom button to switch between Log viewing mode and the MLUT.
would this be similar to how the Red Komodo works with ISO as well? As where the ISO is not baked in the metadata, and rather it acts more as a monitoring LUT then it actually being what the raw image looks like? Thank you for all this info, its alot to take in on first watch but its really great information
@@aov_james Thanks for the input! Just wrapping my head around things, I wasnt stating that Red Komodo had it first or anything like that, just wanted to clarify if its the same concept! Also, would love me an FX6 lol
A lot of this kinda went over my head. I'm kinda new to videography & also self-taught. Although I kinda understand how EI only changes the lut this video made me feel like there is more to iso than just noise. Can you recommend me a video or a book so I can know more in detail about exposing correctly? I have a7iv and shoot in slog3.
That was a nice surprise Sony gave us with this firmware update. I shoot reality and fx3’s are everywhere on sets. I have the fx6 and opted to get the a74 instead but it’s cool that the fx3 has these added features putting it more in line with its big brother Fx cameras. Has me more excited about the potential of the Fx3 mk ii. #isthatared
@@robchado same here mainly because they’ll hopefully be more available because the current batch of Fx cameras are so hard to find. I’m ready to buy a couple of fx9’s by the fall and I hope they are available because they’ve been back-ordered for months. And my fx6, whenever I take it out on shoots I guard it like a it’s a celebrity waking thru a crowd because no one has one.
I still do not understand what the point of EI is. Have watched 3 videos on this now. Why not just underexpose if I want more highlight range or overexpose if I want better shadows? Is it not only confusing to “display” the image darker/lighter when that’s not the actual exposure. Like what is the point? Everyone says that it helps, WHY DOES IT HELP? Can anyone a single person, explain why it is helpful aaargh
Like you even contradict yourself in the video. One second you say exposure remains the same, the next second you say it doesn’t. Is it one or the other? Does it change exposure? (It doesn’t) so why then? Seems like it’s just a preview to me. But then why on gods earth are you talking about latitude? Because if it is only a preview it has zero bearing on dynamic range. None. Absolutely none. So stop with the contradictions or actually, slowly, practically, step by step, explain how on earth cine ei isn’t just some gimmick.
Pretty sweet update. I rent an fx3 quite a bit to go along with my A7S3, so I’ll probably stick to one method of exposure for simplicity. The timecode update is quite exciting though. #isthatared
my rule is only shoot slog for clients that know how to use it if you are not the one editing or giving any post solutions for the footage, but thats just my rule lol
I’ve got myself into Canon and RED ecosystem and still peeping on sony cams. Fx3 is amazing compact versatile camera I hesistate to buy into their system.. lol #isthatared
I like the explanation about the exposure index and exposing for shadows/highlights. This is something I've learned a lot more about since owning a red komodo. Very useful and helps so much. Also #isthatared
To begin with you need to slow down… You’re rattling out figures and numbers that nobody can understand without going back several times. Not only slow it down, why don’t you put some of those up as graphics while you’re talking. It’s like you’re speaking another language for people who don’t understand what you’re saying. And even though I have a big understanding of ISO, you still came off as confusing. There’s no hurry, if people wanna hear what you have to say they will spend as much time as they need to.
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Sony FX3 is such an epic camera and this new update made it even better!
I used to always ONLY shoot at base 640 and 12800 before, can someone help me understand what the difference is now if I was already only shooting at base before?? If with this new update I don't change exposure index at all, then basically the workflow is almost the same as it was before (considering I always shot at base) correct? Maybe i'm overthinking this
I’m kind of on the same page. Does EI allow you to control SS and AP to adjust for your image, or is it locked to the frame rate that you are shooting at?
Interestingly enough, the update completely removes SLOG2 from the camera. I wonder why Sony abandoned it. Maybe they finally are admitting that it was a joke this entire time.
I’m with you, really confused as to how effecting the EI helps at all, surely you’d want to see the image you were capturing as it’s being captured. Why would I want to see something else and risk messing up the footage? I understand shooting at base ISO or second base to maximise dynamic range, beyond that I’m lost as to this use
Same, been doing photography for almost two decades and I don’t see the point. My take is that when something is this hard for people to explain - it is a bad idea.
2:37 This takes me back... Few years ago I was shooting a mini-documentary for a news station and they explicitly requested the FS7 with Slog3. I told them that the image would have to be properly graded in order to look good, they said yeah sure, and so I went and shot Slog3, utilizing all of the waveform monitor. A couple weeks later I watched the final documentary and what do I see? A generic 709 LUT, completely blown out highlights and noise all over. So frustrating, especially since they of course blamed me for screwing up the image while shooting. Thank goodness they didn't call back ever since.
This is why I always send a readme file with an explanation how to handle footage or certain filetypes with contact information if they need further assistance.
It's a simple solution and will help you as well as the client.
I wouldn't trust a news station with grading anything since they usually never do that and the editor properly wouldn't know how to deal with log footage.
Communication is key even if it doesn't feel like it's your job or 'is very obvious' sometimes.
@@annekedebruyn7797 I think we need to write a very quick and easy to understand guide for editors that every shooter could share. Also, with the plugin catalyst Prepare that should be coming very soon for PP (and we all hope also Davinci Resolve), let's hope things will get easier.
This video is so well done! It's been frustrating seeing the back and forth in the community and folks just all over the place trying to explain CINE EI.
I've tried the FX3 before and didn't care for it. But after shooting with the FX6 for over a year now and watching the v2 firmware announcement, I immediately ordered and FX3 for a second go around. I think Sony can add a few more things to and really make it a complete setup, but it's nice having a b-cam that operates more like the FX line versus a A7 camera.
Just SUBSCRIBED and looking forward to going through your past content, nerding out and supporting a fellow BIPOC creator.
This is what I need. I have the Fx3 and need to understand more about it. Mainly because I want to film in my garage, purposely keeping the lighting low for a cigar room effect but need to understand the new update. Before the update I filmed in s-cinetone or to my ninja v in prores raw. But I want to try the cine
You're like the only legit Cinematographer posting on here. Keep going man.
Gonna have to replay this 10 times at half speed.
About 4 minutes in, I was like, "Sorry, what? I was focusing on the puppies."
Great video and very well explained. There’s just something I‘d like to point out to avoid any confusion. Only lowering (or raising) the EI won‘t get you any more dynamic range in the shadows (or highlights). Changing the exposure by opening (or closing) the aperture or by removing (or adding) ND is what actually allows you to shift the DR into the shadows (or highlights). Technically you wouldn’t even need to change the EI at all as it‘s just a guidance for monitoring exposure. You mentioned that briefly at the beginning of your video but I thought it would be good to clarify that once again just to make sure.
So finally, the ideal - for the final image quality - is to shoot at 800 or 12400 Iso (in low light) and adjust your aperture or ND filter when you shoot. That seems to me to be the basis. I never touch the native Iso. Am I wrong?
Yeah I still don’t understand it, I think because the guy in the video starts talking about how it affects dynamic range. That shouldn’t be possible. Exposure affects DR and latitude at base ISO, nothing else. So I still don’t see the point tbh.
I'm just handing over log footage daily, so I try to stay at base iso levels, but with CineEI mode now I was able to change the top ISO button to just switch back and forth between the two bases, instead of having to dial through all the numbers to go back and forth. Much quicker and nicer for me. The timecode however has proven problematic. In my tests so far the camera is always 2 frames ahead of my timecode box ... using audio timecode from the same box, it is accurate. Another thing I noticed was for wireless monitoring ... I've been using the Monitor+ app for easy monitoring and touch-tracking off my phone, adding luts there and using their waveform to monitor the log signal ... at least in CineEI mode now, the wireless signal seems way glitchier and it is hard to connect. Also, if you have a camera LUT on, it bakes it into HDMI out as well as the wireless signal. You also can't chose to have the exposure tools reading the log signal while the lut is on.
One of the few creators I have the bell notification on for. Great work as always.
But at the end of the day your recorded footage is only at one of two base ISO's 640 or 12800 (or whatever profile you are in base). So the adjustments to the footage are going to be the same regardless of what you set your EI to. It's basically a safety net at each exposure to simply preview what you can do in post. I'm on an a1 and a7Siii so I don't have it to play around with but I only shoot base ISO and use ND and aperture for exposure where needed. This looks like a great feature none the less!
cine ei will let change the ratio between highlights and shadows in those 15 stops of the dynamic range captured. u can't do that with your a1/a7siii
I am an FX6 filmer but the FX3 is now definitely a great option 👍🏻
It definitely is buddy, are you thinking of using it as a back-up?
@@AlexAntohe thinking yes, but it is much money 🤔 but for holidays the FX3 would be perfect
Been trying to wrap my head around Cine EI for a while. This is def helpful! Great video!
3:52 when you shift the ei it does not shift the DR allocation. It does nothing to the footage. It does not give you more range in the highlights if you bump it up like how the Alexa does.
Yes, I mentioned that it only changes the monitor LUT.
@@robchado 😇
Been loving the FX3 for the last few months. Haven’t done much of a deep dive into this info so this will be helpful!
Why did you buy a mini LF instead of Venice 2? Since you have all of Sony’s other cameras
Just bought this camera, and days after came this new firmware. Very cool. Still waiting on few things tho, shutter angle, and true 24, 30, 60, 120p.
Also we need a 3.5mm to microUSB timecode cable for those tentacle sync or deity tc-1 timecode boxes.
YES! I wish they would implement LTC like the BMPCC.
So at 4:16, where you're outside, are you rating DOWN to 3200 from 12,800? Or are you going up from 800?
So basically, by having a setting that doesn’t bake your ISO choice into your footage, you can then use iso as a tool to ‘trick’ you into over or under exposing your image in order to get more dynamic range in post? So, it’s kind of like the same principal as rating film on a stills camera. Rate the camera below the base iso if you want to favour protecting shadows (as you will increase your exposure as a consequence to get what looks to be a balanced image), and rate it on or above the base iso if you want to favour protecting highlights (as you will end up lowering your exposure as a consequence to get what looks to be a balanced image)? What I’m struggling to get my head around is the part where you talk about having a single EI for an entire project, how can that be possible when a project may have scenes of varying lighting conditions where you will need to over expose or under expose from one scene to the next? How do you maintain the consistency for an editor then? Or do you just pick two iso levels to work with for the entire project for each outcome and communicate that with an editor?
Quite simply, shoot everything at native ISO. Unless a editor/colorist is looped in on exposure decisions, the easiest solution is to not change your EI at all.
Fanastic explainer! Have you noticed if the Cine EI mode (or V2 as a whole) has reduced the internal noise reduction on the FX3? I prefer denoising in post, or sometimes I just prefer the image to have some texture.
Would like to know as well!
so its just basically only using two base ISO now. I guess we could have done that with setting the past into one of those bases. Now it seems its 800 vs the older 640. I wonder if it really is 800 or they just wanted to make it match with the F6 and F9. So I can see the changes in exposure but its just a reference and not actually changing the ISO. So really having a variable ND is best.
Great info! I'll have to watch it a few times to wrap my head around it! Lol
I still dont really understand the EI tho.
Im just recording at 800 and 12800.
If its to bright at 12800, i could lower the EI??? Right now i just stop down or use some ND.
Hey Robert, what do you mean by 'rate down'? If you go to 12800 and rate down to 3200, does it mean you rate down via EI and open the aperture even more, effectively overexposing the 12800? Or does it mean to 'rate down' that you switch to the 12800 Base and then lower the ISO to backe in 3200??
Yes to both; you are overexposing 12,800 base for a really clean 3200 EI.
So what your saying is we really need internal RAW. 😁 Great video BTW.
Them Best Bois tho! 🦮🦮 Another great vid bro!
How to overexposure in CineEI ?
you think its possible to match the fx3 to fx9 slog (fx9 slog after color grade looks much better in my opinion) only with the internal picture profile settings
I am a stills shooter making my way over to film with the FX3 as my current beast. This was a great explanation of Ei. Its still messing with my head a little but I now understand the concept. 8-)
I suggest just playing around with it at home! It makes much more sense to me when I started constantly doing my own tests.
Going to get the new Sony FX30 as well?
Can IE be used with external recorders?
I believe recorders would essentially bake in the monitor LUT since you're recording the output feed. It would treat it more or less like Flexible ISO.
But how does the dynamic range shift if the FX3 is always recording in one of the two base ISO's (in CINE EI mode)?
Changing the EI doesn't actually shift the dynamic range from the highlights to the shadows and vice versa. It's a tool that you can use to help you determine the proper iris and ND filter settings, which is what causes the shift the dynamic range. For example, if you want a shot to look darker (less detail in the shadows, more detail in the highlights), you would adjust your iris or ND filter to decrease the exposure by 1 stop. That's it. More highlight detail, less shadow detail. You can then increase your EI by 1 stop to cause the image to appear more "neutral" (1 stop brighter than it is actually being recorded). The only thing that changed is the exposure; the entire image is now 1 stop darker, but it appears to be the same exposure on the monitor because the EI was increased by 1 stop.
Hey Robert, a much better feature of the update is the possibility to use custom MLUTs. So it is finally possible to have a false color mode. This works in harmony with the Cine EI mode :)
Can you explain how to get false color? Are you applying false color as a lut?
@@eware3000 Sure. But since my last detailed answer got deleted by RUclips (I suspect because of the external links), you'll just get the simplified version:
Create a LUT with an appropriate tool (e. g. LUTCalc by cameramanben), import it to the FX3 (explained by Sony). I use a custom button to switch between Log viewing mode and the MLUT.
would this be similar to how the Red Komodo works with ISO as well? As where the ISO is not baked in the metadata, and rather it acts more as a monitoring LUT then it actually being what the raw image looks like? Thank you for all this info, its alot to take in on first watch but its really great information
If I’m not mistaken, that cineEI function already existed on fx6/9 fam and with this new firmware update, it completed Fx cinema family
@@aov_james Thanks for the input! Just wrapping my head around things, I wasnt stating that Red Komodo had it first or anything like that, just wanted to clarify if its the same concept! Also, would love me an FX6 lol
A lot of this kinda went over my head. I'm kinda new to videography & also self-taught. Although I kinda understand how EI only changes the lut this video made me feel like there is more to iso than just noise. Can you recommend me a video or a book so I can know more in detail about exposing correctly? I have a7iv and shoot in slog3.
What are the best practices white balance when using the cine ei modes? we lose auto wb.
Pick a good white balance for the scene and stick with it 🙂
Would you send some isthatared stickers to Australia? I’m guessing postage would be a killer but my friends and I would love them ❤️
Does a7s iii have the same feature?
n0
Great video and thank you for this easy to follow explanation.
Does the FX3 have desqueeze for anamorphic lenses?
Negative.
Awesome explanation mate. What LUT are you using for your footage?
That was a nice surprise Sony gave us with this firmware update. I shoot reality and fx3’s are everywhere on sets. I have the fx6 and opted to get the a74 instead but it’s cool that the fx3 has these added features putting it more in line with its big brother Fx cameras. Has me more excited about the potential of the Fx3 mk ii. #isthatared
I'm looking forward to V2 of all the FX cameras!
@@robchado same here mainly because they’ll hopefully be more available because the current batch of Fx cameras are so hard to find. I’m ready to buy a couple of fx9’s by the fall and I hope they are available because they’ve been back-ordered for months. And my fx6, whenever I take it out on shoots I guard it like a it’s a celebrity waking thru a crowd because no one has one.
So de we all agree that 800 is the base ISO?
I still do not understand what the point of EI is. Have watched 3 videos on this now. Why not just underexpose if I want more highlight range or overexpose if I want better shadows?
Is it not only confusing to “display” the image darker/lighter when that’s not the actual exposure.
Like what is the point? Everyone says that it helps, WHY DOES IT HELP? Can anyone a single person, explain why it is helpful aaargh
Like you even contradict yourself in the video. One second you say exposure remains the same, the next second you say it doesn’t.
Is it one or the other? Does it change exposure? (It doesn’t) so why then? Seems like it’s just a preview to me. But then why on gods earth are you talking about latitude? Because if it is only a preview it has zero bearing on dynamic range. None. Absolutely none. So stop with the contradictions or actually, slowly, practically, step by step, explain how on earth cine ei isn’t just some gimmick.
Pretty sweet update. I rent an fx3 quite a bit to go along with my A7S3, so I’ll probably stick to one method of exposure for simplicity. The timecode update is quite exciting though. #isthatared
Making me want one now 🤣
I LOVE MY FX3!!!!!
prove it
my rule is only shoot slog for clients that know how to use it if you are not the one editing or giving any post solutions for the footage, but thats just my rule lol
That's a good rule to follow. Lol
#isthatared great reminder to update my FX3 😄👍🏻
Now that I just recieved my FX6, I''m in need of some decoration for my pelican case #ISTHATARED
#isthatared
I didn't know this feature
Sony always has ingenius ideas over the competition
I’ve got myself into Canon and RED ecosystem and still peeping on sony cams. Fx3 is amazing compact versatile camera I hesistate to buy into their system.. lol #isthatared
I’m sorry not sold, never use it so maby I miss the genious behind it but idk, not sold 😂
I like the explanation about the exposure index and exposing for shadows/highlights. This is something I've learned a lot more about since owning a red komodo. Very useful and helps so much. Also #isthatared
To begin with you need to slow down… You’re rattling out figures and numbers that nobody can understand without going back several times. Not only slow it down, why don’t you put some of those up as graphics while you’re talking. It’s like you’re speaking another language for people who don’t understand what you’re saying. And even though I have a big understanding of ISO, you still came off as confusing. There’s no hurry, if people wanna hear what you have to say they will spend as much time as they need to.
There's nothing stopping you from watching at a slower playback speed 😉
@@robchado this video did not explain anything clearly. You need to work on that
your set lighting is horrible. i have to turn you off. bye
Bye, Felicia!
@@robchado I like it. I hate the rainbow lighting most RUclipsrs have.