- #View Camera Settings In Cine Tracer Movie Mode Would#
- #View Camera Settings In Cine Tracer Skin Tones Become#
Any exposure measurement or assessment requires some kind of reference. In Sequencer, click the Add button and add the Cine Camera Actor. See Manipulating Actors for controls on how to move, rotate, and scale Actors in a level. From the Place Actors panel in the Cinematic tab, drag a Cine Camera Actor into the level and position as shown below. From the Main Tool bar, click Cinematics then select Add Level Sequence.
Cine Tracer is a real time cinematography simulator made with Unreal Engine. Application Data is a hidden folder, you have to have Show hidden files and folders check in.Cine Tracer. C:\Documents and Settings\
View Camera Settings In Cine Tracer Movie Mode Would
So, by setting the zebras to the appropriate value we can use them to measure how bright specific parts of our images are.With the FX3 and a7S III, zebras are in my opinion the best way to check your S-Log3 exposure levels. If you are coming from a stills camera that doesn’t have zebras, they are a hatched line pattern that is superimposed in the viewfinder over the parts of your image that are at the brightness level defined in the camera’s zebra settings. The a7S III works in exactly the same way so these suggestions apply equally to both.First of all, what are the brightness levels we need to know?Zebras are your friends (in the UK they are zeb-raas, everywhere else they seem to be zee-bras). So, if you are using a 1/60 th shutter, a light meter in movie mode would be need to be set to 30fps.But what about the in-camera options? I’m going to start with some examples using the Sony FX3. Sekonic light meters in their movie mode assume you are using a film camera with a 180 degree shutter by default. Just remember that if using a light meter, make sure the camera’s shutter speed is matched to the light meter.
View Camera Settings In Cine Tracer Skin Tones Become
This may be where skin tones become the best option. This is the brighter end of the skin tone range, but with S-Log3 it is generally better to be a little bit brighter rather than a bit too dark.In the image above you can see that I have chosen custom zebra setting C1 and have changed the zebra level to 61% and also the zebra range (circled in yellow) to +/- 2%.But what if you don’t have a white or grey card, perhaps there isn’t time to use one. For faces and skin tones the value I chose to use is 52%. To measure the brightness of a grey card, 41%.
This helps provide the reassurance that you are correctly exposed. However, by turning on the camera’s Viewfinder Display Gamma Assist function, the image in the viewfinder is corrected so that it should look normal. This makes judging whether it is correctly exposed, or not, difficult. When viewing correctly exposed S-Log3 it will often look flat, washed out and lack color. This is very similar to an MLUT (Monitor Look Up Table) but it only works via the camera’s built-in viewfinder display.
This tells me this is correctly exposed.In addition, because I am using the MLUT I can also assess my exposure simply by looking at the image on the screen. Note how the brightness level of the white card is at the 77% line. I know I am measuring the s709 because of the “LUT s709” indication just above the waveform display.Also note that there are two orange lines on the waveform display, the lower of which is zebra 1 at 61% and the upper is zebra 2 at 77%. Gamma Assist has no impact on the levels actually recorded or the levels on the HDMI (and SDI) output.In the image above of the FX6’s LCD you can see how 61% zebras are showing across my brighter skin tones when the s709 MLUT is enabled. This is because the levels the zebras measure are not affected by the Viewfinder Display Gamma Assist as it is purely an adjustment to the way the footage looks in the viewfinder. You should be aware that when using the Viewfinder Display Gamma Assist the zebras are still measuring the S-Log3 levels so you should continue to use the zebra levels appropriate for S-Log3 when using Gamma Assist.Note that the zebras, set to 52% for skin tones in the above example, appear over the same skin tone areas both with and without the gamma assist, even though the brightness and contrast is quite different.
There is no need to expose these cameras any brighter than the Sony recommended levels for most normal scenes. Skin tones are not as accurate due to the wide brightness variation from person to person, but they are still a useful guide.The a7S III/FX3/FX6/FX9 are all low noise cameras. Using a white or middle grey card will result in consistently accurate exposure. Similarly, if you expose a white card correctly, middle grey will also be correct. So, if you expose a grey card correctly, white and skin tones will also be correct. Whether you are outside on a bright sunny day or indoors in a dimly lit room these ratios don’t ever change.
Check out his website HERE. Then, when using and measuring the default s709 MLUT you can continue to use the levels I have provided here for s709.Alister Chapman is a regular contributor to SonyCine.com. For that type of shooting, I really recommend using the FX6 or FX9 with their CineEI mode and using a lower EI of 400 or perhaps even 200 EI. If you are shooting in scenes with very low average light levels you may choose to expose brighter than the levels I have suggested in this article. This makes exposing these cameras much easier as you don’t need to worry about offsets and there is the added benefit that you will have a larger highlight range.
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