I really loved listening to you, English is not my first language but the way you speak and explain your self it's just perfect to understand. Thanks a lot for shearing your knowledge with us and to make such a good video
One small note: for a darker scenes usually is a good idea to expose to the right for a 1-2 stops when it is possible, and then bring down image in post, to reduce noise. When applying this to the method you are recommend it just means you need to make two different luts for on set usage - one for normal scenes, and one for dark scenes, when most of the frame is below middle gray.
Yeah, that’s right! I normally shoot dark scenes with a lower Exposure Index normally 500, and then lower it in post. Some cameras don’t require that. Normally the Alexa is pretty clean at 800, but with Sony I agree with you if you want a clean dark image is best to overexpose a bit. The thing is that a lot of people when they talk about overexposing they don’t compensate for it with the monitoring (as you said making a lut that brings the exposure down by one stop will make you over expose by exactly one stop and it’s the right workflow). But most people just overexpose and see a brighter image and then lighting decisions and relationships are hard to judge. I hope it make sense hahah. Thanks for the support :)
I normally shoot low light too. I set my iso on my a74 to 800 for darker scenes when shooting, but before I shoot I bring it down to around 500 to 600 to set my exposure ratios by using false colors on my monitor, then I bump back up to the base iso 800. Some times when bumping back to 800 after setting your exposure ratios you may find that your highlights maybe clipping according to false colors. I slowly continue close down my aperture until I no longer see any clipped highlights.
@@braxtonwoullard1188what do you mean that you bring it back to 800? Not the iso right!? You mean darken in post? Isn’t 800 a sweet spot to shoot at? I am confused!
@@nostalgia_boxbumping the iso doesn’t actually make you expose to the right. It just boost the signal making it brighter but you’re not hitting the sensor with more light. This is a common misconception. The only way to properly expose to the right is to have more light on the scene or opening up the lens or using slower shutter speed (but that would also change the motion blur in video) Cheers :)
@@megreilley3866 I shoot mostly at iso 800 for night scenes but if the scene is too bright and I want it a bit darker, I do a quick preview by bringing down the iso below 800 to maybe 500 or 640 to see what it could look like in post and then go back up to iso 800 so I can hit the native iso then hit recored. I make sure I got a healthy amount of exposure for iso 800 even though it is consider the cleanest iso. You don't want to under expose even at 800. I use false colors on the atomos shinobi so as long as your image isn't below the brightest blue color in false color mode you'll be able to see details with little to no noise. The best thing for cinematographers to do is know the limitation of their camera and play within that.
This was the one thing that helped me out. 🤩 Before I was always having problems to get consistent results because all these guys tell you to expose as bright as possible but somehow I did never get that to work consistently on my 8 bit A7R III. Relying mostly on the gamma display Assistent and then just throwing on the corrective LUT does really work with everything I shoot. I end up somewhere between +1 and +2 depending on the scene but I notice that I get better results if I don't try to maximize the ETTR thing. Keeping it closer to what it should be just with the LUT afterwards gives you something good out of cam that can be edited slightly. As soon as you start to get to brave and have to pull around highlights too much, the whole starts starts to really fall apart. :D Thanks a lot for making this usable for me! 🙂👍
🎯 Key points for quick navigation: 00:10 *The video addresses how to properly expose S-Log3 to achieve desired image results, emphasizing the over-complication of log profiles.* 01:20 *The video is divided into technical and practical sections, with the technical part explaining the essence of log profiles.* 01:49 *Log profiles allow preservation of full sensor dynamic range by not applying in-camera color management.* 03:13 *Shooting with log profiles provides flexibility in post-production due to retained dynamic range.* 05:06 *Proper exposure of skin tones is often misunderstood; they don't always need to be within a specific IRE range.* 06:53 *Effective exposure relies on consistent monitoring from shooting to grading, using tools like Gamma Display Assist.* 07:32 *Use the same LUT for shooting and grading to ensure consistent exposure and preserve creative intent.* 08:12 *Previewing the image correctly allows freedom in creative decisions without worrying about 'proper' exposure.* 09:12 *The video emphasizes creative intent over technical correctness in exposure; exposure should align with creative goals.* 11:15 *While precision in lighting ratios has benefits, the takeaway is that exposure should serve creative intent, not strict standards.* Made with HARPA AI
1:40 Log actually shoots and stores data in a logarithmic manner cramping details so that most amount of data it is not lost where as in standard modes it shoots and stores linearly so they are technically operating differently, Speaking for Sony log.
Thanks for this, I wanted to figure out how to properly expose on camera since I'm gonna be working with a budget gimbal where I can't attach my monitor.
Yeah but how to apply an in camera LUT on a7iv while shooting? I believe that is not possible. Or do i need an external monitor for that ? And what is point of red? There is lots of technical jargon here and it doesn’t help much.
I film on the Sony fx30, so with it being s35 sensor, I’m always hammered with the expose to 1.7 2.0 all the time. But I been doing my own test and base 800 is crazy noisy in deep shadows, but if I just drop my iso (flexible iso mode) to 400 or 200 & expose for no blown highlights. I get a super clean shadow detail. So my question would be, what is the true way of exposing? Over expose or not too?
Think of it like this. The true way of exposing is based on the image you want to get. That being said if the image you want to get is a very moody dark image and you want it to be clean at the same time, with most cameras you'll need to expose brighter then the intended look and bring it down in post. (which is what CineEI is for) or as you said using flexible iso (although with flexible iso you'll loose a bit of dynamic range). CineEI 400 is showing the image AS IF you were shooting at iso 800 but IT'S ACTUALLY recording at iso 800. Then in post you bring it down 1 stop (which is the difference between iso 800 to 400) that will match what you were seeing when shooting and that will give you a cleaner image. The flexible iso is the same thing with the only difference that is actually recording at iso 400 and you don't have to bring it down in post. (but using and iso that is not the native 800 will make you loose some dynamic range). So bottom line, to get dark yet clean image (with most sensors: for example the alexa sensor is very clean even at 800 with little light) you need to expose brighter then the intended look to give the sensor a healthy amount of light and bring it down in post. The thing is that you should monitor the already darkened image when shooting otherwise you don't know what you're gonna get. This is what CineEI is for. Hope it makes sense :)
can anyone explain what they are talking about by meaning point of red in the star wars example.. as in what does it actually do.. does it mean increase red gain?gamma? or does it mean just add a little bit of red to the skintones?
hello A question on what picture profile Sorry, I don't know English and I didn't really understand your video and your explanation, that's why I asked Thank you for answering my question
Hey thank you for the video. But how do I know I exposed the scene right in the dark if you can't always trust the little monitor? Usually they say just overexpose about 1 or 2 stops. But if it's not possible, what function on the camera tells me there's enough light too work with in the end? (I have a Sony FX3)
hi, excellent video. Where did you find in the camera : zebras and the 50 ''IRS' 'IES' when you talk about skin tones. I am a neeeewbie in all this cinematographic world !!! thank you.
Hey man, I'm here somehow because of the Walter's involving around 8:xx :). I'm not the main targeted audience because I'm into compositing, CGI, matte paintings, set extensions, remove/clean plates etc... Did YOU interview him ? (I like Walter, he can speak about anything, including european soccer - I'm french BTW hehehehe). Anyway good continuation ;)
Thanks mate very helpful. If you shoot in log with the Sony SLog3-to-Rec709 LUT applied in-camera / previewed- is it possible to then add a stylised LUT on top of this in-camera? Or is it best/possible to just use the stylised LUT preview directly on top the log profile?
what if I use a monitor lut, but i'm not sure what to set my monitors screen brightness to (currently at 20% brightness)match my cameras exposure. Inside is accurate but that same monitor brightness outside is way too low and if i crank the monitors brightness up. It doesn't match my cameras actual exposure. Great video btw!
hello Jimmy I got a question. For example when I am shooting in a dark scene and exposed my subject for the skin tones but also if I am gonna also take some shots in same dark scene just for some products and details around the scene .Should I set my exposure for those shots to the 18% gray ? or what ?
It’s printer lights. In resolve it would be the offset wheel. Printer lights traditionally are adjusted in printer points. So if you use the offset wheel which is set to RGB values of 25-25-25. A point of red would be 26-25-25. All of this to say that it’s just a small offset wheel adjustment. The most basic adjustment you can do :)
@@jimmyonfilm Thanks for the detailed answer Jimmy! When you say printer lights, that makes sense to me now. I wasn't thinking of printer lights when I heard "point the red" 😆
Thanks man! No, when using the EL zone system the monitor switches off the LUT, the EL zone needs log as input and specifically the Log of your camera (normally you specify that on the monitor) I use it on the Ninja V :)
I don’t think that possible unfortunately but I might be wrong. The solution would be to use an external monitor to load LUTs on (expensive but worth it in my opinion)
Bro I had the same problem. I just configurated my camera monitor with his own built in exposure and contrast settings so it matches the end production my computer after I put my correction lut on it. I needed 10 try’s but now it’s kind of accurate
@@theowlfromduolingo7982 it’s a printer light point. In davinci resolve it’s the offset wheel which is default at 25-25-25 RGB values. A point of red would be 26-25-25
Thanks for the video , i have a question : I grade in Davinci Resolve with DWG timeline Color Space and i have some LUTs that exported from DWG color space, can i use them with my A7Siii? or is it even possible?
Hey! Yes you can but you would need to concatenate the DWG LUT with 2 color space transform. One before the LUT to go from SGamut3.cine/Slog3 to DWG and one after the LUT to go from DWG to rec709. Basically adapting the LUT to what the camera outputs and to what the display expects. It should work properly :)
mister... WHAT is that info on your display with those EIs?? LOL, HOW do we get that beautiful information there?? (wait, I"m using A7IV.. the question is if that camera gives that info)
That make sense, if you like false color check out the EL System it’s pretty cool and it works in stops of light instead of IRE values which in my opinion makes it more universal. I prefer to make my lighting decisions looking at the how the final image is gonna look like as I feel like I’m not restricted by numbers, but it’s a matter of preference 😊
Hey I’m Italian too! Un punto di rosso si riferisce ai printer lights, in resolve sarebbe l’offset wheel che di default è settato a 25-25-25 RGB. Un punto di rosso vuole dire che viene aggiustato a 26-25-25. Praticamente l’aggiustamento di colore più semplice che possa esistere
The visual quality of your videos is good, but the acting, editing, and directing need significant improvement to reach an acceptable level of realism.
Now, speaking about the objective of the video, which is to discuss S-Log exposure, you have a good grasp of it. As I mentioned, the visual quality of your films is impressive, but don't rely on expensive equipment as a crutch. Try experimenting with different approaches.
skin tones dont have to hit anything. still i want to know what they hit. cause: in the real world of cinematography you have to reproduce looks and moods. you have to know how many stops over or underexposed you are. you need reliable tools for measuring, not artistic blabla....
well now this is full circle circle jerk of shit. you are told not to rely on monitoring for lighting and now you are told to rely solely on monitoring.... - how about some decency in terms of exposure. the best way and the most professional way to do it is by using a light meter, spot metering and incident. the second best thing is the el-zone-system, which unfortunately is not available on the sony cameras as far as i know. --- el is great cause it thinks in stops not in ire. the sony false color is really unusable.
I really loved listening to you, English is not my first language but the way you speak and explain your self it's just perfect to understand. Thanks a lot for shearing your knowledge with us and to make such a good video
One small note: for a darker scenes usually is a good idea to expose to the right for a 1-2 stops when it is possible, and then bring down image in post, to reduce noise. When applying this to the method you are recommend it just means you need to make two different luts for on set usage - one for normal scenes, and one for dark scenes, when most of the frame is below middle gray.
Yeah, that’s right! I normally shoot dark scenes with a lower Exposure Index normally 500, and then lower it in post. Some cameras don’t require that. Normally the Alexa is pretty clean at 800, but with Sony I agree with you if you want a clean dark image is best to overexpose a bit. The thing is that a lot of people when they talk about overexposing they don’t compensate for it with the monitoring (as you said making a lut that brings the exposure down by one stop will make you over expose by exactly one stop and it’s the right workflow). But most people just overexpose and see a brighter image and then lighting decisions and relationships are hard to judge. I hope it make sense hahah. Thanks for the support :)
I normally shoot low light too. I set my iso on my a74 to 800 for darker scenes when shooting, but before I shoot I bring it down to around 500 to 600 to set my exposure ratios by using false colors on my monitor, then I bump back up to the base iso 800. Some times when bumping back to 800 after setting your exposure ratios you may find that your highlights maybe clipping according to false colors. I slowly continue close down my aperture until I no longer see any clipped highlights.
@@braxtonwoullard1188what do you mean that you bring it back to 800? Not the iso right!? You mean darken in post? Isn’t 800 a sweet spot to shoot at? I am confused!
@@nostalgia_boxbumping the iso doesn’t actually make you expose to the right. It just boost the signal making it brighter but you’re not hitting the sensor with more light. This is a common misconception. The only way to properly expose to the right is to have more light on the scene or opening up the lens or using slower shutter speed (but that would also change the motion blur in video) Cheers :)
@@megreilley3866 I shoot mostly at iso 800 for night scenes but if the scene is too bright and I want it a bit darker, I do a quick preview by bringing down the iso below 800 to maybe 500 or 640 to see what it could look like in post and then go back up to iso 800 so I can hit the native iso then hit recored. I make sure I got a healthy amount of exposure for iso 800 even though it is consider the cleanest iso. You don't want to under expose even at 800. I use false colors on the atomos shinobi so as long as your image isn't below the brightest blue color in false color mode you'll be able to see details with little to no noise. The best thing for cinematographers to do is know the limitation of their camera and play within that.
This was the one thing that helped me out. 🤩
Before I was always having problems to get consistent results because all these guys tell you to expose as bright as possible but somehow I did never get that to work consistently on my 8 bit A7R III. Relying mostly on the gamma display Assistent and then just throwing on the corrective LUT does really work with everything I shoot. I end up somewhere between +1 and +2 depending on the scene but I notice that I get better results if I don't try to maximize the ETTR thing. Keeping it closer to what it should be just with the LUT afterwards gives you something good out of cam that can be edited slightly. As soon as you start to get to brave and have to pull around highlights too much, the whole starts starts to really fall apart. :D
Thanks a lot for making this usable for me! 🙂👍
Thank you for this video bro, very informative, I'm new to this whole log profile
Wow, the way you just made Slog3 exposure simple to understand. Thanks a million!!
This is great info!! Such good perspective… I also feel the “standards” are more damaging than helpful because of the reason you stated
Great tips.
I typically use false color and exposure compensation LUTs for preview.
This is the most coherent and helpful video I’ve watched in a while thanks boss
Thanks a lot for your time and sharing
The color grading in these specifics shots of the beginning is awesome!! A tutorial would be even more!
Your filming is absolutely dope.
You got "the eye" dude
🎯 Key points for quick navigation:
00:10 *The video addresses how to properly expose S-Log3 to achieve desired image results, emphasizing the over-complication of log profiles.*
01:20 *The video is divided into technical and practical sections, with the technical part explaining the essence of log profiles.*
01:49 *Log profiles allow preservation of full sensor dynamic range by not applying in-camera color management.*
03:13 *Shooting with log profiles provides flexibility in post-production due to retained dynamic range.*
05:06 *Proper exposure of skin tones is often misunderstood; they don't always need to be within a specific IRE range.*
06:53 *Effective exposure relies on consistent monitoring from shooting to grading, using tools like Gamma Display Assist.*
07:32 *Use the same LUT for shooting and grading to ensure consistent exposure and preserve creative intent.*
08:12 *Previewing the image correctly allows freedom in creative decisions without worrying about 'proper' exposure.*
09:12 *The video emphasizes creative intent over technical correctness in exposure; exposure should align with creative goals.*
11:15 *While precision in lighting ratios has benefits, the takeaway is that exposure should serve creative intent, not strict standards.*
Made with HARPA AI
Please, break down your set and talking head settings! The texture is heavenly!
This was a masterclass!
Thank you so much for this🙌🏻🌟
What a wonderful video, enjoyed every moment and I learned a few things !
Thanks😊
Amazing work man!
Thanks man!!😊
Thank you bro. This is all I needed.
amazing work, keep it up.
1:40 Log actually shoots and stores data in a logarithmic manner cramping details so that most amount of data it is not lost where as in standard modes it shoots and stores linearly so they are technically operating differently, Speaking for Sony log.
These shots are absolutely beautiful, you are insane 👏
Thank you so much!🙏🏻😊
Extremelly valuable content. Thank you!
My exposure never what matter suggests , always expose to filling and mood of the shot I am trying to achieve 👍🏻
Great demonstration 👏👏👏🙌🙏🏻
Thanks!!!
Thank you for the video, I really like your presentation style.
Thanks!!!🙏🏻
Thanks for this, I wanted to figure out how to properly expose on camera since I'm gonna be working with a budget gimbal where I can't attach my monitor.
I 100% agree with all these tips.
Great video mate, also the model was very photogenic haha
this should also work for the a7iii right?
Really Helpful! 🙏
I had to subscribe off this one. Thanks Jimmy!😎
c'était super intéressant ! merci 💪🏼
great and useful video thank you 🥳
Thanks!🙏🏻😊
Yeah but how to apply an in camera LUT on a7iv while shooting? I believe that is not possible. Or do i need an external monitor for that ? And what is point of red? There is lots of technical jargon here and it doesn’t help much.
I film on the Sony fx30, so with it being s35 sensor, I’m always hammered with the expose to 1.7 2.0 all the time. But I been doing my own test and base 800 is crazy noisy in deep shadows, but if I just drop my iso (flexible iso mode) to 400 or 200 & expose for no blown highlights. I get a super clean shadow detail. So my question would be, what is the true way of exposing? Over expose or not too?
Think of it like this. The true way of exposing is based on the image you want to get. That being said if the image you want to get is a very moody dark image and you want it to be clean at the same time, with most cameras you'll need to expose brighter then the intended look and bring it down in post. (which is what CineEI is for) or as you said using flexible iso (although with flexible iso you'll loose a bit of dynamic range). CineEI 400 is showing the image AS IF you were shooting at iso 800 but IT'S ACTUALLY recording at iso 800. Then in post you bring it down 1 stop (which is the difference between iso 800 to 400) that will match what you were seeing when shooting and that will give you a cleaner image. The flexible iso is the same thing with the only difference that is actually recording at iso 400 and you don't have to bring it down in post. (but using and iso that is not the native 800 will make you loose some dynamic range). So bottom line, to get dark yet clean image (with most sensors: for example the alexa sensor is very clean even at 800 with little light) you need to expose brighter then the intended look to give the sensor a healthy amount of light and bring it down in post. The thing is that you should monitor the already darkened image when shooting otherwise you don't know what you're gonna get. This is what CineEI is for. Hope it makes sense :)
Absolutely insightful
Thank you for answering a question that frustrated me.
There is no correct exposure!
Thank god I have lumix, exposing vlog are normal plus I got waveform and built in spot metering.
can anyone explain what they are talking about by meaning point of red in the star wars example.. as in what does it actually do.. does it mean increase red gain?gamma? or does it mean just add a little bit of red to the skintones?
great video
Great info!
Can you show the process of how to export a custom lut from davinci to monitor and then apply it back to footage in post?
hello
A question on what picture profile
Sorry, I don't know English and I didn't really understand your video and your explanation, that's why I asked
Thank you for answering my question
WOW VERY GOOD LESSON
Man that video was good 🙏🏽
Thanks man! 😊
hi - i have one additonal question - should i do the White Balance with the LUT on?
Good tips 👍🏻 I always film with the same lut in camera 💪🏼 best cinematic greetings from 🇩🇪
Thanks! The best workflow….At least in my opinion😜
Hey thank you for the video. But how do I know I exposed the scene right in the dark if you can't always trust the little monitor? Usually they say just overexpose about 1 or 2 stops. But if it's not possible, what function on the camera tells me there's enough light too work with in the end? (I have a Sony FX3)
hi, excellent video. Where did you find in the camera : zebras and the 50 ''IRS' 'IES' when you talk about skin tones. I am a neeeewbie in all this cinematographic world !!! thank you.
Nicely explained.... Love watching your tutorial on grading. The intro where can I watch it at
Thank you for this video !
Debayering is a fun word to use for non bayer sensors, like fuji x-trans haha
Hey man,
I'm here somehow because of the Walter's involving around 8:xx :). I'm not the main targeted audience because I'm into compositing, CGI, matte paintings, set extensions, remove/clean plates etc... Did YOU interview him ? (I like Walter, he can speak about anything, including european soccer - I'm french BTW hehehehe).
Anyway good continuation ;)
Thanks mate very helpful. If you shoot in log with the Sony SLog3-to-Rec709 LUT applied in-camera / previewed- is it possible to then add a stylised LUT on top of this in-camera? Or is it best/possible to just use the stylised LUT preview directly on top the log profile?
thanks for your share
Gosh invaluable. ❤
thanks for helpful information
what if I use a monitor lut, but i'm not sure what to set my monitors screen brightness to (currently at 20% brightness)match my cameras exposure. Inside is accurate but that same monitor brightness outside is way too low and if i crank the monitors brightness up. It doesn't match my cameras actual exposure. Great video btw!
Are you using a mist filter of some sort?
hello Jimmy I got a question. For example when I am shooting in a dark scene and exposed my subject for the skin tones but also if I am gonna also take some shots in same dark scene just for some products and details around the scene .Should I set my exposure for those shots to the 18% gray ? or what ?
What is "Point of red?"
if you use a lut, do you need to adjust your zebra settings as well, or do they still use the log image?
No, the zebras use the lut, so you have to set them according the lut.
What does "Point of red" mean exactly in this situation? I don’t get it 😅
It’s printer lights. In resolve it would be the offset wheel. Printer lights traditionally are adjusted in printer points. So if you use the offset wheel which is set to RGB values of 25-25-25. A point of red would be 26-25-25. All of this to say that it’s just a small offset wheel adjustment. The most basic adjustment you can do :)
@@jimmyonfilm Thanks for the detailed answer Jimmy! When you say printer lights, that makes sense to me now. I wasn't thinking of printer lights when I heard "point the red" 😆
Where can I buy your color LUT?
Great stuff! When shooting in log, and using EL ZONE, do you leave the preview lut on?
Thanks man! No, when using the EL zone system the monitor switches off the LUT, the EL zone needs log as input and specifically the Log of your camera (normally you specify that on the monitor) I use it on the Ninja V :)
what lens do you shoot on looks amazing!
Thanks!! All been shot on Sony 24-70 gm 😊
I have never seen anybody getting of the bike like this :D
We tried to make it look dramatic 😜
Its possible to use custom luts on the a7iv? I always wanted this feature but wasn't available until the last update i did (maybe 5 months ago).
I don’t think that possible unfortunately but I might be wrong. The solution would be to use an external monitor to load LUTs on (expensive but worth it in my opinion)
Thank you bro
thanks mate!
🙏🙏
Nice video man, you should also make video about Da Vinci resolve export and perfect RUclips quality for sharpness
Thanks man:) great suggestion!
what monitoring lut is proper to DWG. im use cst. when i use s709 lut and it is darker than i shot 😅. confusing 😅
Bro I had the same problem. I just configurated my camera monitor with his own built in exposure and contrast settings so it matches the end production my computer after I put my correction lut on it. I needed 10 try’s but now it’s kind of accurate
9:41 Sorry but what does "point of red" mean in this case. I didnt get it
@@theowlfromduolingo7982 it’s a printer light point. In davinci resolve it’s the offset wheel which is default at 25-25-25 RGB values. A point of red would be 26-25-25
@jimmyonfilm Oh now I get it, sure I know printer lights. Thanks 😂
Another one of these videos 🤦🏿♂️ (but I'm addicted so can't leave😂)
good stuf bro
Thanks for the video , i have a question : I grade in Davinci Resolve with DWG timeline Color Space and i have some LUTs that exported from DWG color space, can i use them with my A7Siii? or is it even possible?
Hey! Yes you can but you would need to concatenate the DWG LUT with 2 color space transform. One before the LUT to go from SGamut3.cine/Slog3 to DWG and one after the LUT to go from DWG to rec709. Basically adapting the LUT to what the camera outputs and to what the display expects. It should work properly :)
@@jimmyonfilm thanks
a regra serve para canon?
Wasn't last jedi shot on film?
Just checked. Arri Alexa. I guess I'd assumed as the JJ ones were film, that Steve and Rian did the same.
mister... WHAT is that info on your display with those EIs?? LOL, HOW do we get that beautiful information there?? (wait, I"m using A7IV.. the question is if that camera gives that info)
I used to use zebras but no longer anymore , til i found false colours which is the most accurate for anything period
That make sense, if you like false color check out the EL System it’s pretty cool and it works in stops of light instead of IRE values which in my opinion makes it more universal. I prefer to make my lighting decisions looking at the how the final image is gonna look like as I feel like I’m not restricted by numbers, but it’s a matter of preference 😊
@@jimmyonfilm I see! That makes sense too
👏👏👏🎬
✌...
Didn’t catch what does it mean “Point of red” and that’s easy… (I’m italian)
Hey I’m Italian too! Un punto di rosso si riferisce ai printer lights, in resolve sarebbe l’offset wheel che di default è settato a 25-25-25 RGB. Un punto di rosso vuole dire che viene aggiustato a 26-25-25. Praticamente l’aggiustamento di colore più semplice che possa esistere
❤
LUT ?
All the images were graded using FilmMatch which is a profile of a Kodak500T film stock. That is the LUT I always use :)
@@jimmyonfilm Can I have a link to LUT? Thank you
What camera are you using?
Robinson Jeffrey Garcia Angela Garcia Jennifer
The visual quality of your videos is good, but the acting, editing, and directing need significant improvement to reach an acceptable level of realism.
Now, speaking about the objective of the video, which is to discuss S-Log exposure, you have a good grasp of it. As I mentioned, the visual quality of your films is impressive, but don't rely on expensive equipment as a crutch. Try experimenting with different approaches.
skin tones dont have to hit anything. still i want to know what they hit. cause: in the real world of cinematography you have to reproduce looks and moods. you have to know how many stops over or underexposed you are. you need reliable tools for measuring, not artistic blabla....
Please pin me i want watch after work
🫡🫡🫡🫡
I understood none of this lmao
well now this is full circle circle jerk of shit. you are told not to rely on monitoring for lighting and now you are told to rely solely on monitoring.... - how about some decency in terms of exposure. the best way and the most professional way to do it is by using a light meter, spot metering and incident. the second best thing is the el-zone-system, which unfortunately is not available on the sony cameras as far as i know. --- el is great cause it thinks in stops not in ire. the sony false color is really unusable.
Took 7.30 mins to get to the answer 🤦🏻♂️
It's called story telling with cinematography.. where basically you need to understand the 5W/1H before to the conclusion 😂
This interview does not look exposed correctly though.
You talk too much
Another "how to expose slog3" video in 2024 ¯\_(ツ)_/¯
Thanks for the insights! Very educational!
Great video, thank you !