FS7: F Stop Dark.

Does it let in more light? I dont see how unless it is just 'better'

Being nikon Im not got any control issues.

Fundamentally I want to keep this thread on 'how to get cleanest files in lowlight situations'

Changing other variables like lenses will pass through to all set ups.

S
 
Yes Sam you gain an extra stop as well as the wider angle of view.

My f2.8 reports as f2 with the Ultra fitted so if you had a f1.8 that would become an f1 there about. The Ultra is not to bad glass wise either. But I still need to test it for edge sharpness with some charts.

Sorry I slightly sided tracked your thread.
 
I think the main issue is the other variables are far far more important to having the cleanest low light images than the precise voodoo cocktail of camera settings.

Everything needs to to be geared towards letting more light into the camera before turning the gain up to 11 and then trying to hide the noise. That really is the absolute last resort when all other variables have been exhausted.

i appreciate that is of absolutely no help to you so I'll shush now.
 
OK here is a little test I did.

Not loony tunes dark but my office with halogen spots and my lathe in my workshop.

I used my 28-85 3.5-4.5 zoom and speedbooster. - the ultimate RnG setup that doesnt involve a cabrio. For unlit INTs one is going to be at 8000 unless one has an open prime onboard.

Settings Custom, Slog, AWB 4000 and 8000 ISO - to me they are 'acceptable' considering one can walk in anywhere and shoot like this.

Watching the WFM I tried to keep the shadows in the 25 zone - very bright on the EVF - I have therefore a reasonably 'thick' negative.

Post is Lut in Resolve and a couple of minor tweaks.

When I start shooting 4k (need more cards) I think this would lead to an impressive file for shooting on the hoof.


https://dl.dropboxusercontent.com/u/33167160/high_ISO_1.3.1.jpg

high_ISO_1.3.1.jpg
 
morgan_moore said:
What we see is that Custom is better in the dark. That is useful, Slog Custom seems best (least bad) to my eye.
Click to expand...

I assume what you meant, camera gain is better than gain in post for a very dark scene.

This opens up the question of.. what ISO do I swap out of CineEI to custom and, in fact, should I ever use cineEI!
Click to expand...

Hoping that you answer the former because that is the salient question. Your test shots posted in the thread are thought provoking. As to the latter, for me (PMW-F55) the best reason for CineIE is to make available MLuts that are not available in Custom. Having MLuts available to Custom is what I would hope for.
 
morgan_moore said:
Here is a test of self lit with a kino, CustomSlog3 at three exposure levels2000ISO,AWB, the files 'equalised in post', the important thing is to note the input WForm, the thinner 'negative' is obviously significanly poorer, the two thick exposures are sharp.

Im not seeing a 'trade off' for putting my skin quite high in the first frame.
Click to expand...

I don't see a trade off either, not here at least.

https://dl.dropboxusercontent.com/u/33167160/Mugshot-jpg12.jpg

View attachment 94722[/QUOTE]
 
Using Slog in Custom is dicey and I would test thoroughly before choosing it over HG. It is designed for the Slog3.cine matrix which is not available (thanks Sony). It may work for you, but be careful. I have done some tests with a DSC chart to see if I can get it back to where it belongs in post and will post my results when I evaluate.
.
On first glance it looked dubious in Catalyst Browser but i could be wrong.

No need to be afraid of Hypergammas- they can look very good

BTW - whenever i shoot in low light I open my shutter to 1/24th or 1/30th (24fps or 30). In many many years I have yet to be bothered by motion blur - especially when compared to noise.
 
Grug said:
I'd argue that it's impossible to create a 'thick' negative by overexposing log footage - and I think your comparison pic bares that fact out nicely Sam. The compression higher up in the gamma curve kills tonality. IMO the only way to expose log footage is 'properly' - put 'white' where it belongs, put 'middle grey' where it belongs, and be wary of your shadows, because you don't want to have to lift them.
Click to expand...

I didn't see tonality looking killed in the posted pic but I do agree that the proper way to expose log footage is to put middle gray where it belongs.
 
morgan_moore said:
OK what I did here was some under exposure and correction in post - both temp and brightness (no NR) - this is a stress test!

The 'scene is basically dark, just a tungsten lamp in the coridor, studio dark, camera set to 5500 (yes that is the wrong setting on purpose)

All F1.8.
CineEI The Slog was Slog.
Custom HG3 set on 6400 ISO, every other setting untouched
Custom Slog set on 6400ISO, every other setting untouched.
Click to expand...

Out of curiousity, at what ISO on your camera would the image have been "properly" exposed? ie. how many stops did you push in post in order to get back to normal exposure?

What I'm maybe getting at, is that a more fair test would have been to push each mode equally in post, but in the case of CineEI you are stuck at 2000 ISO so it needed way more pushing if even at 6400 ISO in custom mode you were "underexposed". So in that case, of course your CineEI image is grainer even though there is no NR in CineEI right now.
 
Ben Scott said:
On-camera LED is about £35 for just those type of scenarios, but I appreciate that doesn't help you when you're out shooting and don't have it.
Click to expand...

Ben

Topic drift. Here is a shot from the same job (on my FS100 before I had the FS7) - my Dedo LED which I am using where possible on the job. It makes a nice little softish light with the dedo softbox (seen here) or can put out a real bit of kick in fresnel mode. Unlike a 1X1 panel this light packs down into my sticks bag where I can also cram a crappy light stand.

S

pie_1.51.1.jpg
 
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I'm very interested in these actually. If they put out the same disproportionate amount of light their regular fixtures do they could almost substitute for a 575HMI in controlled environments
 
I would not say they are like an HMI - not that I have ever used any - just played with a Joker- but they are very useful.

You should try em out at a show or drop by in Bristol!

S
 
Ben Scott said:
I'm very interested in these actually. If they put out the same disproportionate amount of light their regular fixtures do they could almost substitute for a 575HMI in controlled environments
Click to expand...

Not even in the vague realm of being close to a 575HMI I'm afraid. The DLED 4.1 is about a stop less bright than the standard 150w DHL4 (which perhaps beats a 300w tungsten fresnel for output, but that's about it).
 
You need to clarify if you mean a Dedo or a dedo with a Blue filter - id say its about the same as a dedo filtered to 5500k- But I agree no HMI whacker.
 
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