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. Zebras are your friends (in the UK they are zeb-raas, everywhere else they seem to be zee-bras). The a7S III works in exactly the same way so these suggestions apply equally to both.įirst of all, what are the brightness levels we need to know?
A6300 s log 3 lut movie#
So, if you are using a 1/60 th shutter, a light meter in movie mode would be need to be set to 30fps.īut 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. Sony’s ISO ratings for S-log3 appear to be spot on, so accuracy is largely down to the calibration of your light meter and the care you take when using it. You’ll be glad to know that if I use my light meter to set my exposure it’s normally within half a stop of perfect. However, they are still a useful option as we often shoot faces and people.Īnd what about a good old fashioned light meter? Well of course you can use a light meter.
A6300 s log 3 lut skin#
You can also use faces and skin tones, but there is a very wide range of variation in the brightness of faces. Generally a little bit brighter than a proper 90% white card, but any error this introduces will be very small, so white paper isn’t such a terrible compromise. As a “get out of jail” alternative a piece of paper isn’t a terrible option. However, I’m also well aware that there may be times when you don’t have access to a proper white or grey card.
There are ridged charts from companies such as DSC Labs or X-Rite as well as handy, folding, pop-up charts from Lastolite. It needs to be a reasonable size as it’s much easier to measure the brightness of a large white/grey card than a tiny patch on a chip chart or similar. I strongly urge anyone that shoots with S-Log3 regularly to invest in a good, reasonably large, good quality white and grey card. But there are plenty of other cards on the market to choose from. My favourite is actually the back of a DSC labs “One Shot” chart as this has both middle grey and 90% white side by side. The best reference you can get will be a proper 90% reflectivity white card or an 18% reflectivity “middle grey” card. Any exposure measurement or assessment requires some kind of reference.
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