How to EXPOSE Canon EOS R5 & R6 CLOG 3 - Get it right EVERY TIME!
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- Опубликовано: 10 сен 2024
- HOW TO EXPOSE CANON EOS R5 CLOG 3 - Get it right every time
Hey there,
To I spent some time deep diving into the Canon EOS R5 firmware v1.3.1 and the additional of Canon Log 3 (CLOG3). And even though this video was released only days before the firmware version v1.3.1 fixing the view assist, the methods for exposing Canon LOG 3 in this video are still important to understand.
This plus the increased RAW recording capabilities turns the R5 into a powerhouse. The camera now has even more dynamic range. Its quite incredible considering how far these small form factor cameras have come.
This video will discuss how I expose CLOG 3, where to set your neutral grey point and the in camera tools you have to make sure you nail your exposure and get your contrast ratios where you want them.
This video examples of shooting with CLOG 3 in 4k IPB and 1080 compressed video file formats. I also test the 120P / 100P 5 x slowmotion capabilities of the camera with C-LOG 3, C-LOG and no C-LOG.
The main aim of this video was to test the dynamic range of the camera and see how the exposure pivot point changes when using CLOG 3 and CLOG in RAW and compressed H2.65 video formats.
The addition of Canon Cinema RAW Lite and compressed IPB formats has just saved me hundreds of gigs per year. It was unexpected that Canon would introduce compressed RAW recording capabilities to the R5. But they did and I cant see anyone complaining in the future.
In this view video I detail how long each you can expect to record with each compressed and uncompressed video type.
Hope you enjoy.
It seems like we have been waiting for this firmware version for ages. But it is finally here. Version 1.3. And it brings with it some incredible features further empower your cinematography and photography.
Canon also released firmware updates for the R6 & EOS-1D X Mark III. These have all come as a direct result of customer feedback.
So this is what we will be addressing today. CANON EOS R5 MASSIVE FIRMWARE UPDATE!!!! VERSION 1.3
The EOS R5 receives a number of upgrades including Full HD 120p and support for greater customization of the camera. Another new addition is the ability to capture lower bit rate RAW movies to reduce the size of the RAW video files which makes file transfer faster. The update also adds Canon Log 3 which is goodo see. Canon have also now given you the ability to record lower bit rate IPB movies.
Users will now be able to save personalized and preferred camera settings to a memory card, which can be copied across to a different camera or used when settings are adjusted. There is also the option to turn the LCD monitor off during shooting and use it for playback only. The EOS R5 also gets full-time manual support for RF lenses, allowing photographers to override the focus of RF lenses manually when in Servo AF mode.
You can also now share photos with the new Protect Image Transfer function that allows protected images to be locked - preventing them from accidentally being deleted - and transferred via FTP.
The media cards I recommend (non affiliate links):
Angelbird AV PRO CFExpress
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Angelbird PRO SD MK2 V90 (SDXC UHSII)
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Angelbird SSD2GO PKT MK2 1TB
Partnerships & Monetization transparency :
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- Free product in exchange of a review : No
- Contract signed with a brand for this video : No
- RUclips Ads : Yes
- Product Placement : No
Brands do not control what I make or publish.
All of the equipment used to make this productions has been purchased with our own money.
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The Cine Chimp does not post on any other Social Media Platform. Any other social media account named after this RUclips channel is fake..
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This project was made with:
DaVinci Resolve 17 Studio
BMD Cameras and Canon Cameras with Cine Primes
Sound mixed in Fairlight
VFX DaVinci Resolve Fusion
Foley Sound Effects Created on location
Music Copyright Supplied by Audiio Sound or Written, Produced and Owned by Cine Chimp
#cinechimp #canonr5 #CLOG3 #firmwarev1.3.1 #EOSR5 #dynamicrange
Ok, 1 minute into this and how does this not have more view. This is great.
Hey Simon thanks brother!
Watching this as the R6 finally also got Clog 3, now I have to learn how to use false colors with my external recorder. :)
I know how awesome s the new firmware for r6 owners. Rad work Canon!
I've never subscribed to a RUclipsr off the 1st video I've watched, but this was an obvious sub. I love your stop-motion stuff, and the content was spot on. Cheers mate!
Hi Jared, Man thats super nice to say. I appreciate your time brother
Same for me. Instant sub
Thank you, I've been thinking of doing a video on this over on my other RUclips page. I've been trying to explain to some fellow creratives the pro's and cons of shooting LOG and why they need to learn how to shoot it correctly!
Hi there, glad you found value in the video. If you decide not to do your own video, you could always direct the peeps to over here. Your channel looks interesting BTW. You have good screen presence and delivery. Look forward to seeing more.
Fantastic video mate. Great production. I’ve been shooting in 8k raw but using the cine setting and not clog3. I thought raw was raw and it wouldn’t matter. I shot stuff last night in raw and found that shadows to be terribly noisy, with flickering even.
RAW is noisier because there is no NR applied in camera. This is so you can apply and control the "look" as much as possible. To avoid noise either add fill into your shadows and pull them down later or NR in post. I find the R5 has very little noise.
You can also shoot 8k then put that in to 1080 or 4k timeline which effectively reduces noise for you. The flickering though, maybe speak to canon. That doesnt sound right.
I can't find the custom button to turn zebras on and off in canon r6 so how i can fix it please ? Thanks
You will need to set a custom button in the camera. Then program the button for use.
@@cinechimp I tried many times, but I couldn't find it, can you help me find it please ?
@@QARNISTUDIO go to camera menu,
Camera icon. Page 7. zebras ON/OFF. Set your levels.
Then go to Camera ICON with the lines uder it. Second last from the right. Third option down.
CUSTOM BUTTONS.
Choose the button you want to customise.
Make sure the button you change is uder the video camera icon. go down and choose zebras. Hit the set button.
Hope this helps you out.
Great video. QUESTION: I have the OSEE T7 monitor. When i turn on false color it turns off the preview LUT and seems to be applying the false color to my CLOG3 camera setting. Which i think is fine?…..as long as i know skin tone IRE is 60, instead of 70 IRE. Is this correct? Do some professionals use false color on their LOG preview? My new monitor does not apply false color on the preview LUT. Anyone? Many thanks!
Complicated question to answer as there are so many monitors out there that all process the image pathway differently. I try not to change monitors to often. Once I find one that translates well from set to post, i use it until it dies. Then upgrade. What I would say is this, as long as your system works for you and you are getting the results you are after, it doesnt matter what anyone else is doing. There is no "correct way" to expose anything unless you are doing a technical assessment. This is so you understand your camera / monitoring solution. So once you get on set you can apply and translate this into what you want the show to look like.
Thanks for this!
I'm looking to work with CLog3 on an XF705 soon. I loved how you've explained some tips and tricks for exposing the footage in preparation for colour grading later.
Cheers, and subscribing!
Hey Andrew well to the team! Hit me up anytime with any questions
For weddings I don't have the option to use a external monitor or grey card. Would you still set your Zebras to 40% for CLOG3 with View Assist on? Like on the Sony FX3 we go off the histogram, as to not blow out the highlights and don't really need to over expose. Is this the same for the R5 and R6 and possibly the R3?
The view assist is pretty accurate and I rely on it a lot when shooting in fast paced environments. The key with Clog (any flavour) is not to underexpose it. If you stick to exposing to the right and only clip your highlights when you have too, you should be ok. Its safe to say that all CMOS sensors are perform best with more light that less when setting exposure.
So where do you place your highlight clipping point when using zebras is 100% too much or should it be brought down a little?
Hi there, hmmmm it's different for every situation. But a good guide is to run one at middle grey (skin tones) and the zebras for highlights at 75-90. Again it really depends on what you are filming and how much control over the lighting ratio (key to fill to backlight).
This video was perfect but I just wanted it to go 1 or 2 steps further. Maybe some examples using false colour with Clog3. How to get super accurate colours using the colour Checker classic? If using an external recorder, what does full to full or full to linear mean? What lut should I use to accurately monitor exposure? Legalise or not legalised? There is so much stuff to learn. I can't find a video explaining any of this. Thank you
Hi Sam, these are fantastic questions. If I remember correctly the colour checker classic still has a grey chip.
I trust the camera manufactures metering system over Atomos false color system every day of the week. There are many reasons for and to many to write here.
Once you get your head around how to understand the metering system in the R6 and R6 - it will become abundantly clear how off the metering system is in the Ninja line of monitors.
The only benefit the V offers is Prores/RAW externally. Oh and no overheating ...
I record everything in camera and am selling my Ninja V, which is why I have never reviewed the product separately on my channel. The BMD Video assist is a much better product with less quirks with an easier more understandable workflow for beginners. Have you looked at that?
I found that you really need to increase the amount of light in your setup or really push the iso higher than you would want to in order to get a proper exposure with Clog 3. So you get better dynamic range but you sacrifice noise. Am I doing it wrong or is that how it's supposed to be? (I'm also using an R5)
Thats the same with all log formats as you are reducing contrast. Noise hides in the shadows. So on non log formats (most have NR on without you knowing) the noise gets squashed into the blacks, making appear like its not there, but it is and when you push it you'll see it.
You earned yourself a subscriber! Thank you, thank you, thank you for this video! I also see you have some videos on the BM 6K Pro. Perfect! The two cameras I own.
OH how awesome, thanks mate.
thanks, nice work. i am so confused that the middle gray should be. somebody says it should be at 34.3% ire, somebody says it should be at 38% ire. plz help
Hi Arda, I stick with 38, but there is no way in camera to set that exactly, which is why I use the zebras to get within 2%. I saying this you should test your own camera because not all sensors are exactly the same as you may see differences depending your lenses and if the ramp or vingette which would affect your middle gray in certain parts of the frame.
@@cinechimp ohhh, got it . thank you very much.
hello I have an r6 and I have to film in clog3, first of all I understand that I have to stay at 800 iso outdoors and indoors which can be complicated sometimes, then in the histogram I don't understand what is the part on the left which is of gray heart my histogram is never there, can you explain to me please it is urgent and I find nowhere in French explanations thank you in advance
Le mieux est d'avoir un carton gris/blanc dans ton kit camera. Les cameras mirorless n'ont pas d'outils de video monitoring, specialement les cameras Canon. Si tu enclenches tes zebras sur ta camera et suis les recos de ma video, quand les zebras couvrent le carton gris, cela voudra dire que tu auras la bonne exposition "middle-grey". Ajustes en fonction de la carnation du sujet et les autres elements de ta prise de vue, et si tu souhaites sur ou sous exposer
@@cinechimp avant tout merci , mais le coté gauche supplémentaire de l'histograme en mode clog c'est quoi , ensuite pour le gris j'imagine que c'est pas imprimable car c est un certain niveau de gris; puis tu dis de remplir le gris avec le zebra mais le zebra ne veut pas dire que c'est surexposé ? encore merci
@@michaelathlan Bonjour,
l'espace supplémentaire est le montant de la base noire est soulevée en mode LOG. Cela fait partie du remappage du capteur pour augmenter la plage dynamique.
Non, vous utilisez les zèbres un outil de triche.
Le R5 n'a pas de moniteur gris moyen. Vous utilisez donc les zèbres comme triche pour voir où se trouve le gris moyen.
C'est la grande chose au sujet du R5. Il a les 2 histogrammes, vous pouvez donc définir le gris moyen et un pour la surexposition. Ensuite, activez-les et désactivez-les selon vos besoins.
Hopefully my French is ok explaining this.
@@cinechimp first of all thank you, but what I don't understand why in the histogram these 2 parts on each side, there is no information, I thought that the zebra appears when it is burned, in my tests, the near image is good but I lose the sky in the landscape
@@michaelathlan Your zebras can be set to "monitor" any exposure level in 5% increments from 0-100. Normally for my skies I set my zebras to 90% with Canon cameras. So once the zebras start to appear, I still have 10% over that for safety.
The reason why the histogram is showing you "empty space" on either end of the range is because that is how the LOG curve is remapping the dynamic range.
So all of the "normal range exposure" is remapped in a "visually smaller" scale. But in reality you're expanding the DR, not reducing it.
The reason why it appears like this is the histogram display is set size on the camera. The scale can not expand because of UI design. So the "representation" of the LOG scale has to shrink inside the fix graph size of the canon interface.
Hope this makes sense.
They just release 1.3.1 for the R5. It says it fixes the CLOG3 view assist issue. Haven’t tested it.
cheers mate, downloaded , testing
Great comparison of Clogs, thanks man :)
Hey buddy, you're welcome! I had actually watched some of your R6 comparisons in the past. I don't own the R6 and would love to compare the C-LOGS between the two.
Hello. Tell me why I can't open C-log and C-log 3 files from Canon R5 in the free version DaVinci Resolve 17,4,1 Only the sound road opens, and there is no picture.
Or should I buy the paid studio version
Thats a good question. TBH I'm not sure thats a new one for me. You shouldnt need the studio version, you may need to update your pro video format drivers for you actual computer outside of resolve. For example with mac's sometimes you need to update your provideo codecs package from apple. Im not a PC user, but I am sure theres something like that that may require a update. Hope this helps.
Besides this, the money for a studio key is well worth it....
@@cinechimp thank you very much, I will try to do something
Fantastically helpful for me. Thank you. Could you please confirm for me that if I use a Ninja V (the basic one, not the plus version ) with my R5 I will have access to false colour method of exposure? Thank you so much again.
Hi there, yes you absolutely will. I have the Ninja V and thats what I used in the video. So you can be assured that it will work.
Great tips and I really like the way you explain things. It looks like the 1.3.1 upgrade fixed the view assist for clog3, which is great. Rookie question for you or other clog nerds here (term of endearment): When filming in clog3, I understand that 800 "should" be the base ISO. Is the goal to keep it at 800 as much as possible (at least at 800) or is it ok to sometimes go higher in a pinch?
Hey there, this is actually a really good question. because its multilayered. In brief: The base in CLOG 3 is 800 ISO. But it depends on what you're filming as well. Like a night scene. Or how fast the lens is. And more importantly whether you are in RAW or a compressed recording format. All log formats are easier to grade down than lift in post. So if you are in a pinch and need to push the ISO. Add as much fill light into the shadows as you can to reduce vertical banding, artefacts ands digital noise.
@@cinechimp That makes sense, and thanks for your reply!
@@salvamando1 anytime
Excellent video - it really helped! I’m struggling to get a solid exposure with the gray card shooting at 120fps since the max iso is 12,800 and I’m still way under shooting in lower light situations. Do you recommend avoiding c log in this situation or recommend exposing differently? I have so much noise in the videos. Thanks!!
Great question mate. Can you add light or use a faster lens to bring the ISO down? These would be the best solutions.
Thats a hard question to answer, would I recommend avoiding clog. It really depends whats in the scene, what the action is and if I really need 120P to get it.
But if your seeing stacks of noise....probably not unless to can add some light or open up the lens.
Great video! Curious how CLOG 3 compares to shooting in the R5's HDR-PQ mode...? When (if ever) would you prefer shooting in the 10-bit HDR-PQ mode over CLOG 3 (only for quick turn-around in post)? Have looked online for a breakdown of the pros and cons of CLOG 3 vs HDR-PQ but info is hard to find.
Hi Michael, thats a great question and something that I will need to investigate further you give you a more accurate answer. Mainly as a filmmaker Im not concerned with turnaround speed, so clog is what I choose. I have been shooting flavours of log for a decade. So its ingrained in me. I find the HDR workflow very inconsistent between camera brands especially when going to external monitor. For example my Ninja V waveform and false colours in this mode dont match my cameras.
Hello, i can imagine that you are very busy. But may i ask you about my configuration?
I own the Canon R5 with the Atomos Ninja V.
I have set my camera as follow:
Movie rec. Size: 4K-U 59.94p All-I
Log: S Log 3 activated
Color Space: BT.2020
Atomos Settings:
Source: HDMI / UHD59.94 / 2.0
Camera Output: Rec.709
Legalize: Yes
Record: ProRes HQ UHD59.94
Now my questions are:
- are my settings good in term of quality?
- should i set my camera to 4K HQ mode? But then i need to shoot in 24frames
- which color space should i use? BT.709? BT.2020? Cinema Gamut?
- should i legalize the footage on the Ninja?
- is ProRes good?
I know its many questions? But i am little confused about it.
Many many thanks in advance
If recording to an external monitor you should be using CLOG 3 BT2020 24P. The atomos setting should match this your camera output. In fact it should be auto detecting what the camera is sending out.
I leave legalize off.
I would change your output to 4k HQ
I think the 24p question s better answered by, why do you want to record everything in 60P?
Prores is awesome, it is what most feature films are shot in on the Alexa, so dont be afraid of it.
Prores raw is even better - its a shame its not usable in resolve
Very helpful thank you
So , so welcome mate
I wish I understood why you're setting your zebras to 40 and not bumping them up higher. As a primarily stills shooter used to shooting RAW and exposing to the right (though not far enough to blow highlights), it seems like shifting your exposure to the right and lowering in post would result in cleaner files.
Hey Timothy, a 18% grey card is 38% on the zebra scale. As the camera only moves in 5% increments you cant set it exactly at 38%. So 40 is slightly over. The 40% is to understand exactly where your skin tones are in the CLOG3 non linear exposure curve. Its also important as when you change your ISO the mapped curve for CLOG changes drastically. So if your just exposing to the right, you could end up with your midtones bucketed in with your highlights. Which wouldnt be good in post. But if set at 40% first, then you know where that extra stop is to over expose and what it will affect. Hope this helps.
@@cinechimp Interesting. Thank you. That does help.
@@timothylinn Cool man try it out and let me know how this method works (or doesnt ) for you.
@@cinechimp sorry to ask. So you set the zebra to 40%. That means the zebra should be on the face of the person? And then you go 1 stop overeypose or when then zebra is on the face, then its correct?
@@andresherren Once you know where the face is in your exposure index, yes you can then overexpose by one stop. Yep the zebra is being used to evaluate the skin exposure. But this is a guide. Darker skinned people may need a little more light and super fair skinned people may require less. So your using one zebra for scene highlight retention and one for subject exposure guidance.
Brilliant explanation... Is there a reason why we are told to use 800 iso in c log? Thanks in advance
Its where you get the most DR
Thanks a lot for this video! I recently got an R5 and have been shooting quite a bit at night in RAW, and the results have been fantastic. However when shooting in very similar light at night (street scenes mainly) in 4K with Clog 3 I have noticed way more noise than with the older Clog on identical scenes with exactly the same exposure. Would love to hear your thoughts on this. Thanks!
Hey Cedric, thats because the base black level is being lifted, thus you will see more perceived noise. The reality is though, when graded back down, it should clean up. RAW is also inherently noisier than compressed formats as "no noise reduction is applied". So the more you stretch the RAW the more noise will appear when sufficient light is not filling the "capture buckets" on the sensor. Hope this helps.
Thanks for such a great overview.
Dude you're welcome
Great and simple presentation. 35%-40% in cLog3 for the gray card, but what should it be in "normal" profile, not cLog3 (if I need good exposure, but will not grade afterwards for some reason)?
This is a great question. You can use the same methodology - however you will need to pay way more attention to your contrast ratios as the standard profiles have reduced dynamic range and baked in looks. This is where I would recommend using a good external monitor as what you see is what you will get ...
@@cinechimp Thanks for the answer. Have searched little bit to see if I can find some value to use for zebras with those built in profiles, but everywhere is only zebras discussed related to clog3.
Great video. You set zebra level to 40%. I have a Whibal G7 grey card and i don't know the exact value of this card. What is the specific name of this feature?
The feature is Zebras - a gray cards value is middle gray, but in reality - it can be whatever you want when artistic license and imagery is concerned
@@cinechimp thank you. I will try your method to prevent overexposing. I hope i can make it with my card.
Hi I have a question about the R5 and filming. When I set 4k and C-Log, I can't play the videos on Windows. The problem seems to be the C-Log format. Are you familiar with this and do u have solution to the problem? Without C-Log it runs without problems even at 4K, thank you very much
Have you downloaded the Canon pro codecs pack for windows? That could be the issue. Otherwise I would say its odd, unless the stuff that does play is h.264 and the stuff that doesnt is either h.265 or RAW?
@@cinechimp yes i have. I think vlc or Windows media do Not Support log codec and i have to use Adobe Premiere. But i would like to sort the files before importing them to Adobe Premiere
@@rudistefan1986 get the free version of DaVinici resolve for PC -
www.blackmagicdesign.com/support/family/davinci-resolve-and-fusion
you want to download this version DaVinci Resolve 18.5 Public Beta 3 for PC
theres no water marking and ts 90% of the full software - plus it works with all LOG formats.
@@cinechimp i think the free Version doesnot Support log files
@@rudistefan1986 Free version absolutely supports LOG as all BMD cameras film in LOG.
I'm gonna need to watch this three times to understand everything here
Oh I hope it wasnt that confusing??
@@cinechimp No, just a lot of useful detail!
@@MNTGMRYmusic oh awesome
Fantastically helpful video. Using a ninja V with false colour what colour should the 18% grey card appear at ?
Pretty sure thats covered in the video.
Really helpful. Thank you.
Welcome mate
Thanks for the information! Super helpful! You been using the IPB Light with Log and the Compressed RAW? How is Resolve handing those for you if so?
Cheers!
Hey mate, Yep sure have. My hard drives are loving the space saving thats for sure. Im loving the Canon Cinema RAW Lite. Totally changed the camera. Thats for sure. The LOG 3 profile is about as good as it gets. If you shoot RAW the dynamic range increase when you switch to CLOG 2 is very noticeable. However, these space saving codecs are good enough for literally everything but high end work.
Why does this say v1.3.1 when it is about 1.3.0. v1.3.1 released today fixes the view assist.
Hi 77dris, because the methodology and technique of how to set your exposure correctly does not change when not using the view assist. This video is to help people understand Canon Log 3 in the R5. Hope this clarifies and the video help you.
would you maybe share some raw files so I can compare it to my lumix s1 in davinci, I am interested in 120p 4k clog3 and 25p 4k clog3
sure no problems. these files are huge, so they will have to very short. Send me an email with your details and maybe we can exchange some simple footage. I tested the Panasonic S1H, but it was a defective unit, so I stuck with Canon.
Did you find some information on Canon releasing a firmware fix for the view assist in CLOG3?
I am a CPS member. So I called the Canon Professional Services and asked. And it was confirmed that there is a fix in the works. Fingers crossed it comes soon.
@@cinechimp that’s awesome to hear because I was pretty bummed to see the view assist is essentially worthless in CLOG3.
@@alexshotthese I know and agree Alex. Thats why I made this video to help people understand how to expose CLOG3 without the in camera tools working properly. Its comings....the time frame??
@@alexshotthese your cine reel looks great BTW
@@cinechimp Hey thanks! Cheers.
Which lenses did you use to shoot all the test clips in this video? Did you use the CN-E primes?
Hey there, I have a set of CNE primes, but this test was shot on a EF 35mm L 1.4 USM lens with autofocus so I could move around and not worry about being in focus. The camera did a really good job.
Your video is such a great and helpful input for Clog3 newbies! Wondering if the fact that middle grey virtually doesn't change when switching between clog and clog3 also means getting accurate skin tones is much easier with only camera build in zebras + grey card. Am I correct that simply exposing for 18% MG = 35-40 % IRE (Zebras) and then overexposing by 1,5 stops via ND Filter reduction or opening up the aputure would result in good skin tones? Or do you happen to set Zebras to the 55-65 range for skin tones? I understand that locking in 18 % grey is more important tho.
Cheers and keep those videos coming!!
Hi Stefan, stoked this video helped you get your head around it. These are all great questions you are asking which means you are on the right path to become an excellent cinematographer.
As for me, I run a barrage of tests for each shoot. But once I have it tuned in (lens, ISO, contrast ratios etc) - to the characters skin reflectivity - I will then eye ball it on set for the tone of each scene / film.
Technically you don't always have time in every setup to grey card or even chip chart for that matter.
All of your questions will be answered by using the cameras over and over and over. Sorry to go all Yoda on you.
As for over and under exposure of skin tones, the narrative should be dictating what you're doing. This video is really a knowledge base to build from, not define how you shoot. Shoot me over some links to your work sometime via my email link. I like to see what you are shooting
@@cinechimp Actually this is kind of the answer I hoped for! Hard work and experience beats talent - no matter the subject. However, I would love to hear in what situations you prefer Cinema Gamut over BT709 or what your findings were :)
@@stefanmaass7053 I shoot every in RAW. But if not it is always CLOG 3 in rec 2020, because I always grade stuff. The only time I would nt shoot in CLOG3 is if I had zero control over lighting and there was going to be no grade in post.
Hmm. One Bel of gain is a tenfold increase, by definition. So surely a doubling is represented by slightly over 3 deci-bels (tenths of a Bel) not 6. One of us has been confused by audio power doublings where doubling the voltage also doubles the current leading to a six dB increase in the power output. I think. Anyone know better? BobUK.
Hi Bob, I think you may have posted this comment ot the wrong video
Sorry mega noob here, do you have to shoot iso 800? Thanks.
Hey mate, no problems. Absolutely not. It depends on what the scene is. How much dynamic range is required to capture the scene and which ISO will produce the least amount of noise in camera. The way to think of ISO with Clog is that the base ISO is 400 in the R5. Think of that like a film stock, say EI 400. The film stock can only ever really be 400 but can be pushed or pulled. Basically by under or over exposing. Digital cameras do this by gain staging. This is why the images get noisier when the ISO is raised. In saying this you can hit the sweet spot with ISO gain staging on this camera where you get the most latitude from how the log curve is re-mapping the sensor. Thats at 800 ISO in CLOG3. and is dependant on whether you are shooting RAW or compressed formats. Hope this helps you out mate!
@@cinechimp Thanks mate! Love the channel. 🤘🏼
@@f0t0b0y Cheers brother
Hey, I own a R5, When I’m shooting in high contrast situations, My footage introduces grains on shadow areas even I’m on 100iso, What is the reason and how to fix it, Please help. And will bumping iso to 800 will help?
Hey champ, no problems. Firstly the base ISO for Canon Log is ISO 400. But I find 800 works the best for DR. Can you please tell me if you are shooting compressed or RAW as it does make a difference.
@@cinechimp I’m shooting ProRes on my ninja V.
And it’s so amazing you replied, I watch your every video. Thanks 🙏
@@vaibhavtandon Oh thanks mate, appreciate the support. I really do. Ok so I will assume that means 4k HQ to ninja V prores clog3. Are you using the view assist? I have found - with my ninja V anyway thta the scopes are way off and the screen brightness can be really deceptive to your actual exposure. I actually find I need to turn the brightness down on the monitor. And I judge my exposure from the R5 histogram, not the ninja. But thats my unit. Its way off.
What I can recommend is that you expose to the right, avoid 100 iso, stick closer to 800 as this is where you get the most DR with the least noise, which grades down the nicest. Obviously this is a pretty generic answer, but for most situations, IF (and this is a big if) you cant reduce your contrast ratio by adding fill light into your shadow areas. The smallest amount, with a poly board, mirror, shower curtain will help you get a better density in you digital negative. Then when you grade down, you will see the noise disappear. Shooting a higher resolution and then downsampling will also reduce visible noise. Try these methods out and let me know how you go....
@@cinechimp Okay So I’ll stick to 800Iso and Try to reduce the contrast, And Should I overexpose by 2 stops?
@@vaibhavtandon One at the most, but this will also depend on what you are shooting and the end "look" you are after
Just set it to auto duhhh 😎 Dope video! Good looks 🔥
HAHAHAHA! Great comment. Thanks bro
how to add 60 to 50 frame to a canonor5
do you mean how to shoot 50 or 60P on the R5?
Hi, at what % would you set zebras for caucasian skin?
That depends on a lot of things, like what is the tone of the scene. Day, night, interior exterior, day for night etc. What genre is the film? Etc.
There is no exact figure as everyones skin is different. Some people have really shiny skin, no matter what you do. Its always best practice to shoot tests of your subjects to figure out what value you are going to rate their skin at for the scenes of a production. And I know in this day and age that PRE on productions is getting reduced, but trust me - even if you have to do this stuff for free, it will put your mind at ease on set. Thats the only way to really know where to set a subjects skin tone. Shooting RAW helps, but not all productions are produced in this manner.
@@cinechimp Thanks for your answer! So its better to put a middle grey card beside the face then and expose to the card?
@@gregorjeric You can do that for sure
What ISO’s is best when using Clog3?
Really depends on what your filming. If you're shooting RAW you can remap the log response data in post.
Do you feel there is a heavy magenta tint in clog3? especially in extreme dynamic range shots like 1:40 I get heavy magenta tint in the shadows.
No its the way resolve is post processing the image. I have written to BMD and am currently waiting for a reply. Ill post back once I get an answer from them for you.
@@cinechimp oh thank you!
@@cinechimp any update?
@ I am most certian this has been addressed in the latest software update
Great video! I’m gonna finally download the update. Do you have a good clog3 to rec 709 lut that you use? Or do I have to make my own?
Hi Jade, If you use the DaVinci colour managed pipeline, you shouldn't need LUTs as resolve will sort most of this out for you. Apart from this, I grade the LOG without conversion LUTs most of the time. But this is because I have a calibrated professional 10bit external monitor which shows me true SDR in 10bit.
@@cinechimp thanks I use fcpx but I definitely wanna check that out!
@@Jadesfishing sweet
whats the minimum ISO you should set? I have heard you should seht it on 400 at CLOG and 800 at CLOG3. is that correct?
I try and keep all my clog3 at either 400 or 800. But really it depends on how much light you have on hand. A dense negative is always best for colour grading.
@@cinechimp Thank you! I just heard that with CLog3 you need at least ISO 800 or you won't get all of the dynamic range..
@@herrpriller9299 DR is interpretable as it all has to do with lighting ratios and how you light the scene or how and where you add the fill light outside. So you can have a really poor DR camera, light a BMD production 4k with a global shutter, but make it look light 14 stops of DR if its handled the right way. This is where everyone gets confused between real DR and perceived DR. MOst people dont share their ratios like I did in this video. I think it they only way to represent the camera fairly. You dont lose that mu DR over the ISO range. What's happening its the sensor is being remapped to prioritise different ranges of bright and dark. So the DR is still their, its just allocated to a different part of the exposure scale.
@@cinechimp thx for the explanation! Maybe that’s an idea for a video :)
@@herrpriller9299 You maybe be right
old man and beany - "i may vomit" (Snape)
Finally someone with a sense of humour
If I'm used to exposing Clog with histogram, will I be happy using histogram with clog 3? Also is seems like clog 3 gives only 1 stop of DR. Is it worth it to upgrade from eos r for 1 stop?
Well yes because you get FF 12 BIT RAW and 8k clog 3. But I own 2 EOS R's and I would trade one for an R5. They are different cameras for different purposes. Im not always reaching for my R5. A lot of the stuff on my channel is shot with 5d mkiis, Eos Rs. These cameras will easily serve me for another 5 years. So I would say only unless you need FF RAW 8k Clog 3 or higher res stills. Stick with the R.
@@cinechimp I'm mostly interested in on board 1080p 10 bit clog 3. It just seems most videos I see don't seem to convince me that clog 3 is a noticeable upgrade. At least hardly on youtube. I just want more DR in real estate video. I just don't fine the clog3 to be worth a $5000 investment, but I have an r5 in my cart and I'm ready to hit the trigger
@@greenlightstudios3469 Well you did say the magic words, you cant see the difference on YT. So the real question is for your clients where are they publishing their content?
There is a difference. And it's big. And can be bigger because that extra stop in CLOG 3 when shot in RAW can be converted to CLOG 2 very easily. And then you have even more flexibility. If you are doing a lot of stuff with darker interiors and super bright windows, RAW will be more of an advantage than log. However there are huge considerations that come with this, like storage, computer system and additional media costs. I would wait for the R3 to be fully announced as this will most likely be 6k and have no heating issues that some users experience. If your not doing stills and can take a hit in sharpness for more DR I would look at a C70 with a speedbooster. Then shoot CLOG2 and on the DGO sensor. Its about the same price and will most like use the card you already have from the R.
@@cinechimp maybe I’ll look at a7siii
@@greenlightstudios3469 Thats a very good camera. But lower resolution. And it shows in the side by side 8k vs 4k tests. But either will produce excellent results.
@CineChimp I don't know if you did it on purpose but why is some your video out of focus? especially where you are talking into the microphone.
Its not out of focus its EOS R footage. So all the downsampled 8k footage makes it appear softer. The footage is also not superscaled, its only enlarged as upscale. Hope that makes sense. Plus you then add the YT compression and my 9 year old laptop superscale render speeds, which is why I bypass that process. Otherwise I'd be waitnig for a week for the render. hahaha. Maybe in the future I should label the 1080 EOS R footage. I thought it would be clear as the R5 is on the table in the shot. So when Im speaking Im clearly not filming with it.
@@cinechimp Very interesting thanks for the clarification I thought my 4K Monitor was being weird. :) Also I was just watching your video to see if you have experienced any issues when updating your EOS R5.
@@noelrdhawaii Hey Noel. HAhahah I wish I had a 4k monitor. Lucky you. I have actually written to Canon becuase of your comment asking them to fix the Eos R's external signal out - (its locked to 50P) so I can use it in 4k....1080 issue like what your seeing.
As for the R5, man this camera is such a beast. Everything is great with it. Nothing wrong with my unit. I just got the battery grip. So testing that now.
Great video, thank you.
Where can we get Canon's LUTS to covert to REC 709 - do you have a link we can follow to download them?
Thanks again.
in.canon/en/support/0200280202
@@cinechimp is this the correct LUT for clog 3 for the R5's gamma curve?
@@fruffychuffles Should be. Canon sent it to me.
@@cinechimp Huh, that's really interesting, because on that website it says: "Last Updated : 03-Dec-2018" The R5 wasn't even out in 2018...Maybe it just needs to be a clog3 lut and it doesn't matter which sensor it's applied to?
@@fruffychuffles Its is the same CLOG 3 in other canon cameras. So it's updated to cover the R5. Like BMD does with their camera updater. It just covers all their cameras. Hope that clears things up.
can i just exposure to the right by looking to histogram?
absolutely - I do that for everything thats quick turnaround
@@cinechimp what means "quick turn around"?
@@stockfootagez Shooting in camera knowing there will be no grade
@@cinechimp and what about if I will expose clog3 in this way? I mean i have tried ETTR in clog3 cinema gamut on r5 and got overexposed looking highlights with weird colors even when i turn down the gain in davinci after applying proper lut for clog3 cinema gamut to rec 709. It seems that not blown out highlights in clog (accordingly to live histogram) actually is blowin out somehow. Even regardless view assist settings.
@@stockfootagez You may not be converting the video signal correctly in post. What software are you using.? This sounds like the case to me.
ETTR as long as your highlights aren't clipped in camera, will not be clipped in post. You should use REC 2020 CLOG3 in camera and turn on exposure assist.
The histogram is very accurate in camera.
Excellent.
Thanks brother!
Lot’s of valuable knowledge on this channel! So, can 1080 now be shot in 10-bit as well? Which log workflow on R5 renders less noice aside from exposing correctly?
I red the other viewers questions and your answers. The one on exposing skin tone to 40 percent to not get it bucketed up with the highlights. I think of several of the B-roll shots you had the talents face in front of a sky and still the face looked well exposed. So do you use 40 percent zebra on those occasions as well and still keeping the highlights? (I have the R and I’m battling with this. Saving up for the R5.)
Hi Martin, it depends on what look I am going for and then what grade I am going to do or have done. Yes the 1080 can be shot in clog3 on the R5 which should be 10bit. Shooting outdoors is always hard. I live in Europe and the sky is always changing. Clouds look pretty, but they suck for continuity of light. So daylight non commercial stuff is eyeballing. Commercial jobs would be metered separately and controlled as much a possible. So with faces outdoors, sometimes it's better to push peoples faces into the highlights if you want to bring it all down together. Because as I said you dont want to be under exposing and lifting a face. None of the shots in this video have fill light added outdoors. Its stretching the DR as far as I could. I also shoot with the R. Its great and in some senses far faster to work with than the R5.
@@cinechimp Thanks for your answer and feedback! Ok I see how you’re reasoning.
I live in Sweden, yeah the sky is changing more than being the same. Beautiful blue though.
In which way do you find R easier or faster to work with than R5?
@@martinekwall4671 Ok cool man. When the world goes back to normal, Sweden is on the list, thats for sure. I find the R faster as I have less options. So it's easier to make shooting choices. Plus as its mainly a 1080 camera, the files are super fast in post. So sometimes, I still grab the EOSR over the R5 if I know that I am going to publish in 1080 online. MOst people cant tell the difference. And the 1080 on the R is solid.
@@cinechimp Cool, if you want to experience intense dark blue sea come in September.
: ) that's funny to hear gravitating to R, but I do understand and I agree.
@@martinekwall4671 Oh that sounds super interesting. Is that the best time to come and see a bit of everything, snow etc - without it being to cold?
Clog3 is now on canon r6! How to expose for clog3 with histogram? Thanks
should be the same as the R5 in this video.
@@cinechimp but i dont have a grey card i just want to expose clog3 when im in hiking without alot of gear
@@YoussefHallouly Oh ok, I would say try not to under expose the footage. Thats your safest bet. Expose to the right and use things like rocks (which are usually grey or mid toned - shirts ) etc as you middle grey point reference.
@@cinechimp Excellent advice! Thanks!
@@TheTuukkeli It depends on how you actually use the zebras as well. If you set the highlights to 95, you should be ok. But do some testing, especially if you are going to use filters of any kind as they will affect your contrast ratios.
There's way too much involved with this, I'm used to photography where you just expose for your highlights as per your histogram.. All these grey cards and light meters are impossible to pack around in the mountains.
try walking across the Gobi desert in China carrying all your food, water, tent and gear. I was only climbing 100 to 200 meter high sand dunes all day though.
I don’t think it is possible that I could be more confused and frustrated. I have watched one video after another and all of you say to use varying methods. Yet, the footage all of you show is 297,000% better than my footage. I’m so lost. Another mate says, “set the zebra lines to 70%”. You say 40%.
Aside from the zebra lines, I was assuming that Canon knew what it was doing when set auto ISO, but the waveform is horribly to the left, underexposed. Wouldn’t one think that the camera would adjust for C-log and update the exposure to be more towards the middle? I just shot all my footage at an aquarium in auto ISO and the noise is horrendous. Of course it is, because it’s horribly underexposed.
So, I watched a few more videos and ran some more tests. I did set my zebras to 70% and the waveform was quite centered. I then imported and applied the Canon Log3 CST and it was almost perfect. I reduced gamma to -.04 and it looked spot on.
I’ll try your 40% suggestion and see where I end up, but I’m quite sure it’ll be underexposed and noisy.
My hope is the color grade AS LITTLE AS POSSIBLE. I’ve seen a zillion videos from pros that have very complicated node trees. (1) I just don’t have that kind of time and (2) It sure seems to me that they are doing way to much work for each clip.
But, I’m not a colorist nor a professional videographer.
HI Doug, you raise some great points, so thank you for your statements and questions.
I am wondering are you exclusively setting the zebras for highlights or skin tones?
You can set up two in the camera. You should use one around 90% for highlights and one at 40% for skin tones. 40% as this is where the camera sees middle grey for skin tones in controlled lighting scenarios. If you replicate my test (which I highly recommend) you will understand how the camera is "seeing".
Normally you would expose the skin .5 to 2 stops over and bring it down in post.
When you are shooting more doco style like at the aquarium, where you do NOT have control over your lighting ratios (Fill to key) you should be exposing to the right and never use auto ISO. This way you can pull down the exposure in post and set your skin / talent exposure correctly without clipping your highlights.
Each environment is different as are peoples skin tones, so all of these tutorials are guide that you can build off once you understand the variables on the day.
@@cinechimp In reality I have never used zebra lines. I was a wedding photographer for many years and had tons of lighting in gear used for those purposes in the context of flash. But, I moved to France and retired and I am now making videos of my adventures here in Europe. In other words, my exploration of shooting video and shooting in log have just begun. It was my assumption, and a wrong one at that, that shooting in log and on auto would be just fine. I just assumed that Canon would auto adjust for the log setting. Instead, I am finding that I actually have to bother to do work and getting the exposures to be correct. As a wedding photographer, I shot all manual and knew what I was doing.
Therefore, my experience with shooting with zebra lines is just one day, like two days ago. I typically would adjust exposure strictly by the histogram. And frankly, I don’t think it is very different from that now when shooting with video. I’m just an amazingly stupid person. It was just my thought that a $3000 camera set on auto mode would actually adjust properly. So, back to manual I go and I will try using the zebra lines set at 40% and see how I feel. I have also set one of the buttons to turn it on and off which will make it convenient.
If I can get back to you with my analysis once I do that, if you want to see how that is going. I trust your expertise and will give it a go.
@@dougdina I am also in France, what part are you in?
@@cinechimp I now live in Brittany, near Concarneau. I’ll be doing a long visit in Bordeaux from Dec to about April. Where are you at?
@@dougdina unfortunately we are just outside Paris, hopefully not for too much longer.
you look exactly like RJ Naved
You may have to explain to me who that is?
@@cinechimp Famous Radio Jockey Of New Delhi India. his channel is RJ Naved 4.3M ohh he will be so happy to see you :D his younger version exactly looks the way you are currently.i am a complete beginner in videography shifted from 5Diii to R5C was searching how to properly expose CLOG 3 on R5C
oh awesome, I looked him up - I can see the resemblance….do you know him personally?
@@cinechimp no i havent met him yet. Good personality have been listening to his conedy and commentary and radio skills😊 where are you originally from. I have seen him in few events like comicon and few others
@@ishanagarwalphotography Im Australian, but am of mixed hertiage