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We looked at cameras with selfie-friendly screens, wide-angle lenses, microphone inputs and great video quality, and selected the best. Submit a News Tip! Reading mode: Light Dark. Login Register. Best cameras and lenses. Started Mar 16, Questions. Forum Threaded view. Mar 16, Reply to thread Reply with quote Complain. Re: Trouble downloading images from a to Windows As procedure I always take the SD card out the camera after a shooting session.
Then put the card in an USB cardreader and copy the files to a standard folder. Then I put the card back in the camera This step is important as otherwise your editing software may confuse the folder on the PC with the SD source for the pictures. Then I start LR and import or synchronise the folder Then start deleting all the shots that are not so good , always a majority :- My Windows 10 is scheduled to make a backup every day. I always reformat the SD card in the camera before any new shoot.
Hope this helps Peter. Sony E mm F3. Reply Reply with quote Reply to thread Complain. Hope this helps Peter Yup, that's how I do it except I import to C1 directly from the card and I never throw away images.
FunkySpoo's gear list: FunkySpoo's gear list. Thanks Are you trying to view raw or jpeg? I never or rarely remove the SD card from my camera. My A has a shutter count of 29k and I have never had a download issue. William Curtindale's gear list: William Curtindale's gear list.
Sony a7C Sony a Sony mm F2. Assuming you mean raw files arw Even when you import videos recorded by Sony-made cameras to your computer, it is required to connect the camera by USB connection for authenticate first time only. Turn on the computer. Insert the fully-charged battery into the camera and switch the camera power.
When the connection is made correctly, you will get a message saying [Mass Storage connected] on the LCD screen of the camera. PlayMemories Home will start. The image import window will be displayed when you select [Import Media Files].
You can also open the importing screen from the main screen of PlayMemories Home. Select [Camera and media], then click [Import Media Files]. Do you think it is better to have 45 code values or shades S-Log3 to describe the subtle textures that make a face look good or better to have 63 shades S-Log2. Neither is ideal, but I know which is going to look better. Next consider noise and grain.
With both of these curves and 8 bit recording the bottom 3 stops where all the noise and grain is most noticeable are recorded in 8 bit with less than 10 code values for all 3 stops. So any noise and grain or anything in the deep shadows will look bad. If you expose 1 stop brighter you will DOUBLE the amount of code values used for the same things in the darker parts of the scene, so it will look considerably better.
The only penalty for over exposing by 2 stops is the loss of 2 stops of over exposure headroom and again this applies equally to both curves. In addition the data is reduced by a factor of 2 per stop compared to a linear recording again this is the same for any log curve. With a 14 stop range and no highlight roll-off the loss of 1 or 2 stops of headroom by deliberately over exposing is rarely an issue.
In part because again we have no way to display a 14 stop image and even if we did it would be uncomfortable to view these super bright highlights. It must also be remembered that unlike a traditional gamma curve there is no highlight roll off, so the top stop of a log recording has lots of perfectly useable picture information that can be pulled out of the data when grading. Normal gammas with knee etc do not, there is almost no data in the brightest stop which is why over exposed standard gammas look bad.
Log is the opposite of standard gamma. Log gamma rolls off the shadows, not the highlights. Standard gammas roll off the highlights through the use of a knee or similar. With standard gammas we know not to over expose because the highlight roll-off looks bad.
With log gamma it is the opposite, we should never under expose because the shadow roll off will make it look bad. Because there is no highlight roll off, because the amount of data in the shadows doubles for the same scene information for every stop you expose brighter, because the signal to noise ratio improves by 6db for each stop brighter you expose, log will almost always look considerably better when exposed brighter by between 1 and 2 stops.
The view assist function is only of very limited use because it only works at the base exposure level. Any time you can open your iris or slow your shutter and let in more light and expose as bright as you can before clipping your highlights, the better you are.
Bringing waveforms DOWN in post can often hide noise. So if post grading is your goal, expose to the right no matter what gamma you are usung. I know this is an old post. Alister — your comments are spot on as usual — only thing is that Slog-3 in the case of the a is not that hard to see on the display — it has the display LUT for it in the menu — when turned on looks pretty much like other profiles as far as visually in the display.
Sorry just read yur comment above this one — I understand the view assist limitations — so no need to comment on my comment. I had never read anything more useful and clear of this comment about the slog profiles Alister. Thank you very much! Specially for mid light and skin tones. S-Log needs to be graded to look right. S-log exposure on an 8 bit camera must be just right and as the picture you see in the viewfinder is not the finished image, judging exposure can be tricky.
So Cine4 will actually give you better mid range than S-log, but may struggle with highlights in brighter scenes. Yes, an ISO change is an electronic amplification and noise reduction processing change. Not an actual sensitivity change. Unless you can get a soldering iron and glue a different one in. This is actually very interesting. So both of you prefer to apply noise reduction in post using neat video for example? I admit that I quite often use the autofocus function of the a as it works pretty well.
What do you think? Well, you have to use ISO in camera to deliver your video to somebody in a normal manner. Your camera also has fine tuned image processing that is customized for each ISO setting. These are conveniences that you get in camera when you ramp up the ISO. Only shutter speed and IRIS adds actual light.
Shoot as low as possible…. Over expose a stop or two only by opening your IRIS more or use a longer shutter, get a faster lens if you need to. That might confuse some people too. However SLOG3 uses less range. I know that it was certainly intended for 10 bit encoding but even still, why leave so much unused headroom?
Was anything gained by that? S-Log3 is based on the Cineon log curve and can record up to 16 stops. At the moment the cameras can only do 14 stops, so the luma cuts off where the camera cuts off.
If the camera could deliver more it would go all the way to IRE. S-Log2 was specifically matched to a 14 stop electronic camera, but colorists complained as it was unfamiliar. So Sony went back to Cineon. In the past couple of weeks I experimented with the various picture profiles of the a Within these tests I also varied with the color profiles.
Plus S-Gamut introduces a green shift during grading. OK, I thought that it could be used separately. The idea was to have the same color space to work with when I have a situation when the cinegamma does a better job. So would you recommend to shoot a project with only one picture profile in order to get the same look for each scene?
The main thing to understand is that gamma and color space are linked. I will often use different profiles for different scenes to maximise what I am recording. This is particularly important with an 8 bit camera.
But there are two things I am still struggling with:. It is very difficult to shoot exactly at 2 stops over. When I take the 2 stops over, the image turns out a little bit too dark, when I choose 1 stop over, the image looks too bright. I use davinci for editing.
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