It's awsome to hear where and why different people chose to be a freelancer or build a production company. I decided to make a podcasting studio, to have the comfort of staying close to home. Can't wait to watch that interview!
In terms of exposing LOG, I shoot a color chart with my camera and then grade it to my preferred style, since I tend to overexposure my older sony for better noise performance and I do some tweaks to the highlights/shadows/reds Then I export a custom LUT and import that into my Atomos shogun recorder My camera stays in LOG but looks overexposed, my Atomos recorder has the viewing LUT to show me how it will look, the Atomos also outputs the look to a wireless transmitter I have zebras on the camera keeping track of the clipping point but if I'm unsure I also flip off the viewing LUT and check the highlights just to be safe
Hey brotha, so the best way to go about monitoring your levels is pretty close to what you’re doing already. Typically when protecting the whites, and viewing in 709, if you disable the LUT and can see details in your whites in LOG then you’re good. Another way is utilizing zebra’s on your A7S and have them set to show around a certain IRE, and that can help you balance skin and other objects of focus quickly. I do a ton of run and gun shoots where I rely fairly heavy on this method. Keep up the great work! 🤙🏼
@@candersonset The problem is the fx6 doesn’t have an easy on and off toggle for the lut. I wish it could be saved to a custom button. So instead you have to go in the menu. I don’t use the oem lcd and for some reason, Sony doesn’t output the zebras to sdi, so I can’t see them there. Such a weird limitation. It sounds like an efficient route that people are recommending is to just send log signal to external monitor and apply lut there. Thank you for your insight!
@@davidmorefield my apologies I should have clarified. Yes, you can do the same technique using a lut on a your monitor. The same concept applies. Sorry for not clarifying.
Fellow Orlandian here. Unsure if its on the FX6, but I know its on the FX3 and A7 Cameras: setting called Gamma Display Assist. Use that for monitoring on screen, output the Log signal to a monitor load your display lut on there. There may also be a setting to use a display lut in camera, but still output log over HDMI or SDI. Also, make sure your monitor is set to interpret your Color Space as SLOG.3 and your Gamma as Sgammut3.cine. Otherwise it will interpret your log footage as r709 gamma 2.4 (usually) which will be misleading when reading false color. Love your videos, cheers.
Great stuff David! I've been watching for a few months now but this is my first time commenting. I work in the industry up in Toronto and have gotten so much value from your work here. Thanks for all you do!
Always analyze the log footage by disabling the lut or buying a camera which only analyzes the log (i.e. Blackmagic). You can tell if the camera is analyzing the lut when you enable and disable the lut, you should see a change in your waveforms.
@@davidmorefieldyou would need to just send the log signal straight to the monitor from camera. Add whatever LUTs you use to the monitor by SD card and toggle the look that way.
@@CornOffTheCobb Not my ideal workflow but it seems that is the most straightforward way. I wish I could just toggle the lut on and off the fx6 with a custom button. That would be easiest.
Cooking segment video looked great man. For clipping, I make sure the camera is sending log to the monitor. One page has the lut. The other page is false color. That way they don’t mess with each other and I can just flip between them.
@@davidmorefield I also run a third page that has a giant waveform the size of the screen at a 50% transparency so i can see exactly where things are laying in the image and a toggle for a vectorscope for skin.
@@Cinovamedia That means I would have to apply the lut on the smallhd, correct? I don’t believe it knows the difference between the camera sending a rec709 image vs log with a rec709 lut.
My cheeky response; shoot on a Canon so you can use in camera monitoring tools on your log while having the lut on the monitor ;) In all seriousness, when I have to work with cameras that don’t have built in false color I place the false color prior to the preview lut with in the color pipeline of my monitor. Most modern small hd monitors allow for this although I’ve never used the model that you have so not sure if maybe this feature is missing or not.
The log waveform shows up on the fx6 viewfinder and you can have a lut on just the viewfinder at the same time. I keep zebras set to middle grey and white levels but just look at the lines on the waveform for reference, never turning on the actual zebras over the image. Otherwise, some external monitors will let you see the log waveform while a lut is on, and some will not
@@davidmorefieldI think they call it “output display” in the menus, it just toggles all the on-screen information on and off, so you can switch between a clean image and one with all the settings you have turned on in the display menu (waveform, etc)
My workaround with the Log / LUT monitoring issue is to set the LUT up in camera and output that via SDI/HDMI to my viewfinder and monitor. I then have the native FX6 LCD (so a 3rd screen) on camera also, with the LUT switched off so I can always see the Log image at a glance. This also means your EI settings are seen on your monitors. Also worth keeping mind, and this gets techy as it's a question that I asked of Alister Chapman: "S-Log3 is always output using data levels while external monitors and VF’s almost always work in legal range. This is not a big issue if you are monitoring and measuring the S-Log3 (the levels will be correct) but when you add a normal Sony 3D cube LUT that is designed for data range in the external device that is working in legal range the levels get screwed up and the image won’t look correct."
A quick note on your description. Your website link needs the to be a clickable link. As for how I monitor my LOG on my FX6. I have both the normal FX6 monitor with the LOG image and the LUT applied on my Ninja V. I wish I was dual recording for safety but I went for more affordable storage in the meantime with the SATA SSDs that the Ninja V accepts. I am currently scripting out a rig video as I saw you got some great recommendations on yours. Keep up the great work man.
I thought you can bake however you want your footage to look in the fx6 and monitor that. That way you get it right in camera and do less on the back end.
Settings>Shooting>LUT on/off>SDI/HDMI = MLUT OFF. Now when you look at your waveform it will indicate that your waveform is reading the SG3C/SLog3 gamma curve.
I always monitor LOG. SLog3 clips at 93 IRE. Non-reflective whites should be ~70 IRE (even though Sony recommends 62IRE, but pretty much everyone agrees 62IRE is too low). Set zebra 1 at 70 IRE and zebra two at 93 IRE. That way, in your FX6 wave form monitor the two orange lines indicate footage that is clipping (the upper Orange line) and non reflective whites (the lower orange line). You can almost always find some non-reflective whites in your frame somewhere… just make sure those are bumping up against your lower orange line and everything else will fall into place exposure wise where they are supposed to be
@@robgowler378 I guess it’s just a limitation of the fx6 bc in that scenario, I would need to have the lut on my Smallhd, correct? Another limitation is my workflow. I only use an external monitor. Not the oem lcd. And for some reason, Sony won’t let you output the zebra or waveform onto an external monitor.
Get yourself a Sekonic Light meter and learn how to use it. It will greatly improve your craft. Don't trust histogram/zebra/false color/waveform none of these tools are truly accurate. They are all based on reflected light rather than indecent light on your subjects face in a specific location.
@@scott_stevenson my gigs don’t require that much detail. I agree with it being more accurate and would elevate the craft but it doesn’t have a place in my workflow
When I used Sony back in the day I would set up my zebra to show the zebra lines for clipped highlights. As long as I didn't see the zebras I knew I wasn't loosing information in my highlights
![Lethal Company Music Video 🎵 "Follow The Orders" [VERSION A]](http://i.ytimg.com/vi/QeooZB4Z7RA/mqdefault.jpg)
It's awsome to hear where and why different people chose to be a freelancer or build a production company. I decided to make a podcasting studio, to have the comfort of staying close to home. Can't wait to watch that interview!
@@kadudzinski I totally agree. So many different paths for everyone.
In terms of exposing LOG, I shoot a color chart with my camera and then grade it to my preferred style, since I tend to overexposure my older sony for better noise performance and I do some tweaks to the highlights/shadows/reds
Then I export a custom LUT and import that into my Atomos shogun recorder
My camera stays in LOG but looks overexposed, my Atomos recorder has the viewing LUT to show me how it will look, the Atomos also outputs the look to a wireless transmitter
I have zebras on the camera keeping track of the clipping point but if I'm unsure I also flip off the viewing LUT and check the highlights just to be safe
Hope you’re taking precautions and staying safe from the hurricane bro! Praying for Florida. 🙏
@@brian.zukowski Zero precautions. This is the FL way.
@@davidmorefield Y’all do be crazy down there! lol
Hey brotha, so the best way to go about monitoring your levels is pretty close to what you’re doing already. Typically when protecting the whites, and viewing in 709, if you disable the LUT and can see details in your whites in LOG then you’re good. Another way is utilizing zebra’s on your A7S and have them set to show around a certain IRE, and that can help you balance skin and other objects of focus quickly. I do a ton of run and gun shoots where I rely fairly heavy on this method. Keep up the great work! 🤙🏼
@@candersonset The problem is the fx6 doesn’t have an easy on and off toggle for the lut. I wish it could be saved to a custom button. So instead you have to go in the menu.
I don’t use the oem lcd and for some reason, Sony doesn’t output the zebras to sdi, so I can’t see them there. Such a weird limitation.
It sounds like an efficient route that people are recommending is to just send log signal to external monitor and apply lut there. Thank you for your insight!
@@davidmorefield my apologies I should have clarified. Yes, you can do the same technique using a lut on a your monitor. The same concept applies. Sorry for not clarifying.
Fellow Orlandian here. Unsure if its on the FX6, but I know its on the FX3 and A7 Cameras: setting called Gamma Display Assist. Use that for monitoring on screen, output the Log signal to a monitor load your display lut on there. There may also be a setting to use a display lut in camera, but still output log over HDMI or SDI. Also, make sure your monitor is set to interpret your Color Space as SLOG.3 and your Gamma as Sgammut3.cine. Otherwise it will interpret your log footage as r709 gamma 2.4 (usually) which will be misleading when reading false color. Love your videos, cheers.
Great stuff David! I've been watching for a few months now but this is my first time commenting. I work in the industry up in Toronto and have gotten so much value from your work here. Thanks for all you do!
@@spencers-adventures Oh that’s awesome to hear! Thanks for the kind words, man.
Awesome vlog as always!
@@luker1ng Appreciate it!
It's exactly what I'm using. iPhone + DJI Mic 2. The Ronin 4D and URSA 12K sits at home.
@@raredreamfootage sounds like a much easier day haha
Always analyze the log footage by disabling the lut or buying a camera which only analyzes the log (i.e. Blackmagic).
You can tell if the camera is analyzing the lut when you enable and disable the lut, you should see a change in your waveforms.
@@raredreamfootage Right, that’s what I was saying.
That cooking shot was excellent. Sometimes clients don't know what they're missing out on!
Hope you're staying safe from the hurricane!
@@scottsmokerx I totally agree.
And we’ll see about this hurricane!
There is a toggle in the false color settings on the small hd monitors called ignore look. Essentially bypassing the LUT and giving LOG readings.
@@CornOffTheCobb It works even if the monitor lut is applied on the fx6?
@@davidmorefieldyou would need to just send the log signal straight to the monitor from camera. Add whatever LUTs you use to the monitor by SD card and toggle the look that way.
@@CornOffTheCobb Not my ideal workflow but it seems that is the most straightforward way. I wish I could just toggle the lut on and off the fx6 with a custom button. That would be easiest.
Cooking segment video looked great man.
For clipping, I make sure the camera is sending log to the monitor. One page has the lut. The other page is false color. That way they don’t mess with each other and I can just flip between them.
@@FilmedByHendrix oh that’s an interesting workflow!! I might have to test that.
@@davidmorefield I also run a third page that has a giant waveform the size of the screen at a 50% transparency so i can see exactly where things are laying in the image and a toggle for a vectorscope for skin.
@@FilmedByHendrix I like that too. Dishing out gems today.
I believe somewhere in the SmallHD settings, you can choose to ignore the rec709 LUT for false color and exposure guidelines.
@@Cinovamedia That means I would have to apply the lut on the smallhd, correct? I don’t believe it knows the difference between the camera sending a rec709 image vs log with a rec709 lut.
It was great to reconnect David! Looking forward to the next meetup!
@@jaredsheldon5667 Absolutely man.
My cheeky response; shoot on a Canon so you can use in camera monitoring tools on your log while having the lut on the monitor ;)
In all seriousness, when I have to work with cameras that don’t have built in false color I place the false color prior to the preview lut with in the color pipeline of my monitor. Most modern small hd monitors allow for this although I’ve never used the model that you have so not sure if maybe this feature is missing or not.
@@Alexratson I used canon c70 before this. Having built in false color was really helpful!
Enjoyed this! I want more doc work.
@@Evapors You and me both!
I have those glasses and use it a lot for filming trainings. You can adjust the settings and go up to 3 mins of recording.
@@areeltrip oh wow! First time using them but they look super useful.
The log waveform shows up on the fx6 viewfinder and you can have a lut on just the viewfinder at the same time. I keep zebras set to middle grey and white levels but just look at the lines on the waveform for reference, never turning on the actual zebras over the image. Otherwise, some external monitors will let you see the log waveform while a lut is on, and some will not
@@ButterViZion that’s the thing, I don’t use the stock lcd. It’s a bummer they won’t let you output waveform or zebras to external monitor.
@@davidmorefieldYou could program a user button to turn display output on and off
@@ButterViZion Hmm, what would turning the display off do? I only use an external monitor, not the stock lcd?
@@davidmorefieldI think they call it “output display” in the menus, it just toggles all the on-screen information on and off, so you can switch between a clean image and one with all the settings you have turned on in the display menu (waveform, etc)
My workaround with the Log / LUT monitoring issue is to set the LUT up in camera and output that via SDI/HDMI to my viewfinder and monitor. I then have the native FX6 LCD (so a 3rd screen) on camera also, with the LUT switched off so I can always see the Log image at a glance. This also means your EI settings are seen on your monitors. Also worth keeping mind, and this gets techy as it's a question that I asked of Alister Chapman: "S-Log3 is always output using data levels while external monitors and VF’s almost always work in legal range. This is not a big issue if you are monitoring and measuring the S-Log3 (the levels will be correct) but when you add a normal Sony 3D cube LUT that is designed for data range in the external device that is working in legal range the levels get screwed up and the image won’t look correct."
@@darrencoates it seems like the public conceals is to send log out to external monitor and apply lut there.
Unfortunately I rarely use the stock lcd
A quick note on your description. Your website link needs the to be a clickable link. As for how I monitor my LOG on my FX6. I have both the normal FX6 monitor with the LOG image and the LUT applied on my Ninja V. I wish I was dual recording for safety but I went for more affordable storage in the meantime with the SATA SSDs that the Ninja V accepts. I am currently scripting out a rig video as I saw you got some great recommendations on yours. Keep up the great work man.
@@TyTheCamGuy thanks for alerting me about the description.
Yeah, it seems like a bunch of operators are monitoring log as well.
I thought you can bake however you want your footage to look in the fx6 and monitor that. That way you get it right in camera and do less on the back end.
@@ThePhotographyPivot some clients require log. I don’t make the decisions.
@@davidmorefield gotcha. Keep going..I'm on same journey as you! 🤜🏾🤛🏾
zebras :) Put them at 94+ on C2 I think. EDIT that's for Slog 3 - for S-Cinetone - 100.
@@adamdrakestudio If only it could output zebras to my external monitor. I don’t use the stock lcd
I DESPISE the word "podcast" also. I have all of my clients saying "show". Lol
@@ideaplusagency I like that terminology haha
Settings>Shooting>LUT on/off>SDI/HDMI = MLUT OFF. Now when you look at your waveform it will indicate that your waveform is reading the SG3C/SLog3 gamma curve.
I always monitor LOG. SLog3 clips at 93 IRE. Non-reflective whites should be ~70 IRE (even though Sony recommends 62IRE, but pretty much everyone agrees 62IRE is too low). Set zebra 1 at 70 IRE and zebra two at 93 IRE. That way, in your FX6 wave form monitor the two orange lines indicate footage that is clipping (the upper Orange line) and non reflective whites (the lower orange line). You can almost always find some non-reflective whites in your frame somewhere… just make sure those are bumping up against your lower orange line and everything else will fall into place exposure wise where they are supposed to be
@@robgowler378 I guess it’s just a limitation of the fx6 bc in that scenario, I would need to have the lut on my Smallhd, correct?
Another limitation is my workflow. I only use an external monitor. Not the oem lcd.
And for some reason, Sony won’t let you output the zebra or waveform onto an external monitor.
@@davidmorefield yes, but on the smallHD you have the option to have false color and WFM read the signal pre or post LUT.
Need a makeup person to get that shine off their faces.
@@Bobsmithabc Sometimes we have one. This shoot we did not.
How was your experience with the Meta glasses? Was the footage any good?
I got a set for motorsport BTS and incredible audio, video is average.
@@ShubhamLamba69 I honestly haven’t even seen any of it. I was just guessing
Curious to see how the footage from the raybans turned out... what was the purpose of using those vs an iphone?
@@CollinJung She just bought them and wanted to use them. Simple as that haha
@@davidmorefield ah gotcha, totally understand - gotta try out the new toys!
Get yourself a Sekonic Light meter and learn how to use it. It will greatly improve your craft. Don't trust histogram/zebra/false color/waveform none of these tools are truly accurate. They are all based on reflected light rather than indecent light on your subjects face in a specific location.
@@scott_stevenson my gigs don’t require that much detail. I agree with it being more accurate and would elevate the craft but it doesn’t have a place in my workflow
When I used Sony back in the day I would set up my zebra to show the zebra lines for clipped highlights. As long as I didn't see the zebras I knew I wasn't loosing information in my highlights