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Old March 20th, 2012, 07:21 AM   #16
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Re: Is exposing C-log different than usual?

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I can't seem to assign two different functions to the wheel on the hand grip and the lower wheel on the body. Has anyone been able to do this? I would request that in a firmware update if it's not currently possible.
Probably one of the most requested firmware tweak at this point. This will be very handy indeed, and once they fix this, I'll likely use the ISO wheel much more than I use the iris one. As a workaround, I mapped the MAG button #1 as ISO control, works quite well.
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Old March 20th, 2012, 02:03 PM   #17
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Re: Is exposing C-log different than usual?

That's exactly what I've done as well. I just want an easier way to change color temp.
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Old March 20th, 2012, 04:33 PM   #18
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Re: Is exposing C-log different than usual?

having used the C300 for a couple of shoots now, I think I can confirm that placing skin tones around 60IRE max is correct. using the waveform, I have been setting skin tones closer to 65+IRE, (which is what I have been used to with my Sony) and this has resulted in things being just a bit overexposed. from now on I'm going off the waveform at no more than 60IRE for skin tone. (this also seems consistent with the false color on my monitor)
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Old March 26th, 2012, 08:37 PM   #19
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Re: Is exposing C-log different than usual?

I wouldn't trust Marshall for skin tone info. I saw an early version of the false color at a trade show 2-3 years ago and the flesh tone was set at 80! I took the rep aside and told them they were way off and he brought me over to their tech guy at the show who didn't have a clue. They changed it afterward to 55 - which I thought was too low.
I like 60-65 but people use their zebras a little differently anyway.
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Old March 27th, 2012, 06:32 PM   #20
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Re: Is exposing C-log different than usual?

Hopefully their actual engineers are more in touch than their trade show tech guy.

Good point on using zebras. I am interested to know how you use yours at 60-65. When I had my EX1 zebras at 56, I would place zebras on the brightest part of light skinned peoples' faces. Again, I was happy with the results but maybe I was slightly underexposed.

Either way, we need expanded capabilities in the firmware. Here's a new one: when using aspect markers on the LCD, it would be nice to have the option to black out the video at the top and bottom. It would still record the full frame to the cards/outputs but it would be easier to frame things in camera.
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Old April 22nd, 2013, 11:33 AM   #21
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Is exposing C-log , setting zebras

Hi All,


Just took delivery on my Canon C100 and a Ninja2. ( delivered in a rush. Grateful to Joe at Abel, LA)
My first shoot in a couple of days will be interviews against a white background cyc, high key lighting.
I want the background to be textureless white (100% ?) Having never done this, I could use some clarity on setting up zebras and exposure for my interviewees.

Also, any advice for a first user of the Ninja2? I plan to shoot in 24P (60i) 24Mbps.

I plan to use an "interrotron" setup with an iKann iPad teleprompter.- hoping the interviewers face will be visible in this rig...given the bright studio.

Have any of you shot with this high key look?. I'd be interested in any advice. Thanks!

(Alister- I enjoyed your presentations at NAB this year. Great info. Did I hear that you are publishing camera profiles for the Canons as well as for the Sonys?)

Quote:
Originally Posted by Alister Chapman View Post
Yes. When shooting log you have to consider that in order to record the increases dynamic range, each stop of exposure is allocated a very similar amount of data. But as each extra stop is a doubling of brightness range there is in effect more and more image compression occurring as the image brightness increases. For maximum grade ability, you don't want all your picture information up in the highlights. So generally with a log curve you will underexpose slightly compared to a standard gamma. The norm is to use a mid grey card and expose it so that it is at 38% and reflected white should be somewhere around 70%. Reflected white at 70% then allows headroom for direct light sources like the sky or reflections off shiny surfaces.

That's the theory at least, in practice things will vary from scene to scene, but the primary concern is to not overexpose and to keep highlights well controlled.
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