![]() Simply by touching the rear touch screen you can see if your image if exposed properly if your middle grey card reads as a zero, you’re all set. The A7S III has a focus spot function that meters a focus point. This is very easy to do with the A7S III. Sony recommends that middle grey should fall at 40 IRE on your exposure chart. If you want to do-it-right when you’re exposing your camera, you HAVE to use a grey card, period. It is the best choice for shooting in 10-bit, but if you are shooting with an 8-bit codec it should be avoided as it will cause issues with banding and compression artifacts. S-Log2 is good, but S-Log3 is less contrasty and easier to grade. The Sony A7S III has two different Log profiles to choose from: S-Log2 and S-Log3. Shooting in XAVC S-I will give you the highest quality and, personally speaking, I only ever shoot with my cameras at the absolute highest quality settings no matter what. I believe in getting right to the meat of it, and not dragging you along until the end so without further ado, these are the settings you should use. Simply put, if you’re not filming in log, you’re throwing away almost half of the details in your images and there is no way to get them back.Ĭheck out this great article we posted a little while back with Gerald Undone that dives a little deeper into what log is and how to work with it in DaVinci Resolve: Common Log Grading Mistakes and How to Avoid Them The Best Settings for the Sony A7S III Log is a method of compressing the colors and dynamic range of the image into a signal that retains the most information for professional color grading in post. Understanding the importance of shooting in Log is the first step in understanding how to properly use your Sony A7S III. Thankfully, wolfcrow has put together an in-depth guide on how to get-it-done-right when filming in S-Log3 on the new Sony A7S III. The Sony A7S III is a terrific, low-cost, dynamite low-light powerhouse, but when you’re not shooting with it in raw, taking the time to get your color and exposure set properly the first time is of the utmost importance (even in 10-bit). Sure, mistakes happen, lines are forgotten, nothing is ever going to be perfect, but when you’re a cameraman knowing how to properly expose your camera to get the best possible image is paramount. ![]() ![]() When you’re a professional filmmaker, not doing it right the first time means you’re losing money. And unless you’re Peter Jackson, that probably won’t ever happen. In filmmaking, you never get a second chance unless you’ve got a lot of money to pay for a reshoot. As John Robert Wooden, the famous NCAA basketball coach, once famously said, “If you don’t have time to do it right, when will you have time to do it over?”.
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