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.
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.
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 ;)
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
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 :)
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 ?
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 😊
🎯 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
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" 😆
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)
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 :)
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
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.
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
Wow, the way you just made Slog3 exposure simple to understand. Thanks a million!!
The color grading in these specifics shots of the beginning is awesome!! A tutorial would be even more!
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.
Your filming is absolutely dope.
You got "the eye" dude
Great tips.
I typically use false color and exposure compensation LUTs for preview.
This was a masterclass!
Thank you so much for this🙌🏻🌟
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.
My exposure never what matter suggests , always expose to filling and mood of the shot I am trying to achieve 👍🏻
What a wonderful video, enjoyed every moment and I learned a few things !
Thanks😊
Please, break down your set and talking head settings! The texture is heavenly!
Extremelly valuable content. Thank you!
Nice video man, you should also make video about Da Vinci resolve export and perfect RUclips quality for sharpness
Thanks man:) great suggestion!
These shots are absolutely beautiful, you are insane 👏
Thank you so much!🙏🏻😊
Great video mate, also the model was very photogenic haha
Thank you for the video, I really like your presentation style.
Thanks!!!🙏🏻
I 100% agree with all these tips.
c'était super intéressant ! merci 💪🏼
Nicely explained.... Love watching your tutorial on grading. The intro where can I watch it at
Great demonstration 👏👏👏🙌🙏🏻
Thanks!!!
Thank you for answering a question that frustrated me.
There is no correct exposure!
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?
Absolutely insightful
great and useful video thank you 🥳
Thanks!🙏🏻😊
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 ;)
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
Good tips 👍🏻 I always film with the same lut in camera 💪🏼 best cinematic greetings from 🇩🇪
Thanks! The best workflow….At least in my opinion😜
Amazing work man!
Thanks man!!😊
WOW VERY GOOD LESSON
Another one of these videos 🤦🏿♂️ (but I'm addicted so can't leave😂)
Man that video was good 🙏🏽
Thanks man! 😊
Thank god I have lumix, exposing vlog are normal plus I got waveform and built in spot metering.
Gosh invaluable. ❤
thanks for your share
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 :)
Thank you for this video !
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?
Debayering is a fun word to use for non bayer sensors, like fuji x-trans haha
thanks for helpful information
I have never seen anybody getting of the bike like this :D
We tried to make it look dramatic 😜
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!
thanks mate!
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 camera are you using?
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)
Thank you bro
Where can I buy your color LUT?
what lens do you shoot on looks amazing!
Thanks!! All been shot on Sony 24-70 gm 😊
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
🎯 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
👏👏👏🎬
Are you using a mist filter of some sort?
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.
a regra serve para canon?
❤
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" 😆
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)
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
What is "Point of red?"
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
✌...
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.
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 😂
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
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.
Robinson Jeffrey Garcia Angela Garcia Jennifer
Please pin me i want watch after work
🫡🫡🫡🫡
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 😂
I understood none of this lmao
This interview does not look exposed correctly though.
Another "how to expose slog3" video in 2024 ¯\_(ツ)_/¯
Great video, thank you !