It was just a way to get around the noise in the previous cameras and in most cases it is not necessary with the newer cameras. It’s really important to understand that shooting S-Log3 up to 2 stops over isn’t normal. On the FX6 and FX3 this normally means using between 64 EI depending on the scene being shot.Įven though I and many others no longer advocate the use of extra bright exposures at the lower base ISO’s with these newer cameras it really does surprise me how many people believe it is still necessary to shoot up to 2 stops over. So I will typically shoot between 1 and 2 stops brighter at the high base ISO to help deal with the extra noise. However at the 12,800 high base ISO there is a fair bit more noise. Then the A7S3, FX6 and FX3 came along and again at the lower of their base ISO’s I don’t feel it is necessary to shoot extra bright. No longer needing to expose more brightly brought with it a useful increase in the usable highlight range, something the earlier cameras could struggle with. It soon became clear to me that these new cameras didn’t normally need to be exposed more brightly than the Sony recommended levels when using their low base ISO’s and even at their high base ISO’s you can typically get perfectly acceptable results without shooting brighter, although sometimes a small amount of over exposure or a touch of noise reduction in pots might be beneficial. With the introduction of the original Venice camera and then the FX9 we got a new generation of much lower noise sensors with dual base ISO’s. In other examples I used to recommend exposing a white card at white at 70% which would equate to an exposure a touch over 1 stop brighter than the base level. This worked well with these cameras to help control the noise, but did mean a 1.3 stop loss of highlight range. If using the F5 or FS7 I would normally use 800EI which would lead to an exposure +1.3 stops brighter than base. As a result of this I typically recommended exposing these particular cameras between 1 and 2 stops brighter than the base level. When exposed according to Sony’s recommendation of 41% for middle grey and 61% for a white card the end result would be fairly noisy unless you added a good amount of post production noise reduction. When Sony introduced the original A7S, the FS5, F5, F55 and FS7 shooting S-Log3 with these cameras was a little tricky because the sensors were quite noisy when used at the relatively high base ISO’s of these cameras. For some reason many people now believe that the only way you can shoot with S-Log3 is by “over exposing” and very often by as much as almost 2 stops (1.7 stops is often quoted).
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