Best picture profile for judging exposure whilst shooting raw?

Started by thehay95, October 05, 2018, 10:26:55 PM

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thehay95

So recently I've been shooting with an FS700 on a friends Odyssey 7Q. It's made me realise the importance of monitoring in rec709 (as well as looking at waveforms) to really nail exposure when shooting in a log format.

So it got me thinking about shooting raw on the 5D and the importance of the picture profile settings and the role they play in referencing what the camera is seeing.

What picture profile do you monitor in when shooting raw? Is there a picture profile that's as close to a rec709 as can be?
giới thiệu chuyển nhà quận tân bình giá rẻ, cong ty giup viec nha

Kharak

First of its been a long time since I worked with a fs700, so bare with me. I learned that the raw output to 7Q is not really raw. It is compressed and it bakes in WB, it gives you a lot of latitude so your WB only has to be in the ballpark of "correct". But you cant shoot and decide WB later. But this might have come down to ghe post processing the production company was using. But we had issues with this.

Anyways, there is no PP available that replicates the raw output on the 5D. All the PP's go through the h264 encoder and will discard Super-whites and do other funky stuff. The proper way to expose the 5D is to ETTR and the best way to do that is with the help of RAW zebras together with the RAW histogram. The waveform monitor on the 5D is not from the RAW output and should not be used with raw, it only serves to confuse. Because the 5D outputs true raw, there is no need to expose for 18% gray or any of that slog stuff. Dont over/under expose and you can set the exposure for skintones in post.

For a PP closest to rec709 my understanding is that the stock 'Faithful' profile is rec709 with a stylized tint. In ACR this seems to be true as the Cinelog Rec709 and Faithful profiles have the same exposure but faithful has the magenta/green tint.

I shoot everything with a custom film PP that replicates film look, desaturated orange, but stronger red etc.. because I like that what I see on the camera looks good and as close to the look I am going for. Its called Film PS, I've had it for years and never changed it. No idea where I got it.
once you go raw you never go back