The entire analog image chain is designed to accommodate a normal exposure, normal processing, and normal printing.
It’s better to provide too much information on the negative than too little. To obtain the best exposure, err on the side of over-exposure to create a “bullet-proof” negative. Generally speaking, the latitude of KODAK Color Negative Film is about 10-12 stops. It is from a Kodak whitepaper (): Exposing Film. I say that Kodak film has a usable dynamic range of 12 stops. I did make some bold statements during the video, and here are the references for the same: Following the Zone system analogy, it would be Zone V. Some clarifications, in case things are not obvious:Ģ stops over is the middle point. The 12 stops of usable dynamic range includes the overhead, all the way to 109 IRE. That is incorrect, and was a mistake I made while speeding up post. The least noisy is ETTR, and the wolfcrow system is the next best thing.ĭuring the chart after the 11:00 mark, I show how a one stop overhead makes the dynamic range 12 stops. I mention in the article that 2+ stops is the least noisy, though evidently that is incorrect. This is the entire range from -7 to 109 IRE.
M31 OSIRIS LUT FULL
In the video, when I say full swing, I’m always referring to full swing+super whites. Please be aware of the difference, and it doesn’t mean anything in practical terms. In my article on full swing vs studio swing, I define full swing correctly, as between 0-1024 yet in the video, I use the term ‘full swing’ to mean full swing+super whites, which is incorrect. Here are the ones I caught at the time of publishing:Īpologies for the voice and lack of eye contact. I recorded the video during the night to avoid traffic noise, so I have made a few slip ups. Notes, Errors and Omissions on the the Video
M31 OSIRIS LUT HOW TO
M31 OSIRIS LUT SKIN
29:18 How to expose for the best skin tones.26:30 What is the real “middle grey” for the Sony A7s?.17:40 How to use the Zone system to test for the usable Dynamic Range.13:50 How the Zebras in the Sony A7s works.8:00 Understanding the difference between RAW and S-Log2.6:40 Problems with the ETTR system and why I don’t prefer it.1:10 Two ways to expose for S-Log2! The ETTR system and the wolfcrow system.Here are some highlights, in case you feel like jumping ahead: It’s an hour long, but there was no faster way to explain how I arrived at the wolfcrow system. A complete visual representation of the filmmaking process from beginning to end. Driving Miss Digital – noise and signalsĪlso, please watch the fully graded Annakotta (Elephant Fort) sequence before you watch the workflow guide so I don’t put any thoughts into your head:Įxclusive Bonus: Download your FREE Blueprint: How to make a movie.What is color bit depth and a color model?.Here are articles that will help you understand the terms as I define them: Otherwise it’s going to be tough viewing.
List of articles you need to read before watching the videoīefore you watch the guide, or read about the wolfcrow system, please make sure we’re on the same page about the terminologies used.
M31 OSIRIS LUT PRO
Adobe Premiere Pro – to edit my sequence and to export to Youtube.Two ‘correct’ ways to expose, and which I prefer and why.How to monitor exposure in S-Log2 using nothing but the camera.This guide covers the S-Log2 workflow as it pertains to the Sony A7s, shot in S-Gamut color mode.
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