[Michael Palmer]

Firmware needs upgrade.

Good Luck
Michael Palmer

[Michael Palmer]

Its really obvious that many people here on this forum don’t use two of the tools (Zebras and Histogram) on their camera to aid in choosing exposure. Many here don’t realize the LCD monitor/ viewfinder is just that, a monitor, and if it is not calibrated correctly it will give a false sense of accuracy. Its really to bad these LCD’s don’t have a waveform option because this tool would be much easier for a logical minded person to understand and use but they don’t, and even if they did it seems no one here would use it either. However once you understand a histogram you won’t trust anything else.

One last thing, auto iris is used all the time by semiprofessionals and true professionals who make a living shooting because either they have limited camera operating experience or they just want to use the built in light meter to aid in their exposure decision.
Zebras……….Histogram……….Auto Iris

These are tools found on your camera people, use them, I guaranty you will make better exposure decision.

I really think I’m done trying to help people here.

Good Luck
Michael Palmer

[Michael Palmer]

Bill it is the answer to your question, don’t use the viewfinder LCD to set your exposure, this isn’t a handycam.

Good Luck
Michael Palmer

[Michael Palmer]

For News I would think getting the content as it unfolds is paramount, and one way to insure this is to allow the camera to expose for you by setting the exposure to auto. However if you are working in a controlled environment you can first take the time to calibrate your LCD viewfinder and use the Histogram to help you expose manually. You can switch from auto exposure to see what the camera is exposing as another aid in your decision. You can also set the Zebras to 95-100 and if they start to appear you will know that these areas are about to clip. Watch that link and try calibrating the viewfinder and only crank up the brightness if you need to see dark edges of the frame, but don’t use the viewfinder for setting the aperture.

Good Luck
Michael Palmer

[Michael Palmer]

You should use the histogram to help with your exposure.You would calibrate this LCD the same as any field monitor using the bars to set brightness and contrast.

https://www.youtube.com/watch?v=P6O7U6H0H38

Good Luck
Michael Palmer

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[Michael Palmer]

You can’t go wrong with the F3, and now is the best time to invest in a used one because those that have them want to reinvest into the F5 or F55. I’m currently marketing my F3 and like mine a used one would most likely come with extra batteries, S-log key upgrade and possibly the Berkey Plates hardware or more.
If you want more info about my F3 package contact me offline.

Mike@racefan.tv

Good Luck
Michael Palmer

[Michael Palmer]

Here is a brilliantly detailed instructions from Dan Keaton I saved from the CML forum.
I hope it helps, as I have the F3 and S-log key but haven’t gone down the RGB444 road as yet.

Regarding Recording 1080p59.94 on the Sony F3 with the Gemini 4:4:4:

I am very sorry that you are having problems recording 1080p60 (or 59.94)
with the Sony F3 + Gemini 4:4:4.

It is certainly possible to record 1080p59.94, and it is possible to record
in S-Log while recording 1080p59.94.

One trick is that the camera must be set to 1080i59.94, as there is no
1080p59.94 setting on the camera.

And the second trick is to ensure that you use the top A & B HD-SDI outputs
(using both as the output is Dual Link).

You may choose S-Log in the F3 menu if you want.

On the Gemini 4:4:4, please use our latest firmware 1.4.101, but other
firmware versions will work.

If using 1.4.101, please set the Setup|Mode to DPX.

Earlier firmware versions did not have the Setup menu,
but one was able to configure the Gemini 4:4:4 to record in DPX mode.

Just ensure that you are not recording in ARRIRAW or Canon Raw modes.

This may be the issue, as if your Gemini 4:4:4 is setup for recording RAW,
but you are not providing it appropriate RAW signals,
the recordings will be as you describe.

Please use good HD-SDI cables, the ones that we provide with the
Gemini 4:4:4 are very thin, flexible, but most importantly,
individually tested to work well at HD-SDI 3G.

Here are some details:

Sony PWM-F3 – S-Log Setup (For 1080p59.94 in S-Log recording).

Set your F3 to record in S-Log, in 1080i59.94 (in Sony terms 1920/59.94i).

Here are the recommended Sony F3 menu items to set:

Set Others|System|Country| to NTSC Area (or set to PAL Area if desired)

Set Others|System|HD/SD to HD

Set Others|System|Video Format to HQ 1920/59.94i

Set Video Set|Dual-Link & Gamma Select to 1.5G YPbPr422 & S-Log

Note: the F3 outputs 1080p60, via the A & B HD-SDI ports in 4:2:2 YPbPr mode
not RGB 4:4:4.

The Gemini 4:4:4 converts this to RGB 4:4:4 for recording
into the industry standard DPX file format
which requires it to be in RGB and 4:4:4.

This is a very sophisticated 4:2:2 to 4:4:4 conversion.

Set Video Set|SDI/HDMI/i.LINK I/O Select to HD-SDI

Set Video Set|SDI/HDMI Out Display to Off
(This Prevents viewfinder data from being recorded.)

Set Video Set|23.98P Output| to 23.98PsF
(But this is ignored for 1080/59.94i)

Set Video Set|SDI Rec Control to HD SDI Remote I/F
(This enables the record button to start/stop the Gemini 4:4:4)

Set LCD/VF Set|Marker|Center Mark On
(This works in conjunction with the Brightness Display setting.)

Set LCD/VF|Display On/Off| Brightness Display to On
(Optional, but is a useful tool for setting exposure
as it shows the IRE % for the center of the image.)

Set LCD/VF|Display On/Off|Histogram Display to On
(Optional, but is a useful tool to check exposure.)

Set TC/UB SET|Timecode|Mode to Clock
(Optional, but timecode should be generated for Post).

Connect HD-SDI Cables from the Sony F3 A & B Outputs
to the Gemini 4:4:4 A & B Inputs.3. Gemini 4:4:4 Setup

Inputs|Timecode|Source to SDI
Record|Trigger to Camera
Record|Clip to a Clip Name of your choice
RAW|ARRI|Off or SETUP|MODE|DPX (Later Firmware Versions)

Press Next Take to display the next take

Insert at two Convergent Design SSD’s into the Gemini 4:4:4.

Format both SSD (provided no important footage is on the SSD’s).

With the Gemini 4:4:4 powered on, it should report 1080p59.94 4:4:4
in the Input Status area at the bottom of the LCD/Monitor.

You may set the Gemini 4:4:4 to display Rec. 709, if you wish or you may
monitor in the native S-Log.

You may press the “^” near the bottom right of the image on your Gemini
4:4:4,
then press “Apply LUT” to enable the Sony S-Log to Rec. 709 LUT
built into the Gemini 4:4:4.

The footage will still be recorded in native S-Log, provided you have S-Log
enabled on the camera.

Exposure Recommendations:

(Please use your own procedure to set the exposure if you wish.)
I am just offering this technique as I learned this from Alister Chapman and
it works great for me.Set Exposure to 38% using an 18% Gray Card.

In order to record properly exposed S-Log Footage,
enable the Center Exposure Meter in the Sony F3.

Then, after your lighting is set, we recommend that you use an 18% gray
card, held in position where the main subject will be. Then, using the
Center Exposure meter, adjust the lens aperture (using ND filters if
necessary) to get a reading of 38%. (This is two stops underexposed if this
was regular footage and not S-Log. This allows the S-Log footage to have a
higher dynamic range).

Dan M. Keaton
Director of Sales and Marketing
Convergent Design
North Augusta, SC USA

Good Luck
Michael Palmer

[Michael Palmer]

And also CF media cards are extremely affordable and reliable.

Good Luck
Michael Palmer

[Michael Palmer]

Bob,

I think you made a good investment with the Nano Flash. There is nothing wrong with the EX codec from your EX camera, but now you take control of that same encoder found inside your EX camera and you can now record broadcast quality video with 4:2:2 color space with your Nano.

I work in Los Angeles on all the major lots and I see how creative the sets are built to look like real buildings, but these only look good on film/video and can’t withstand weather over time.

I just worked a job where the production had a Red Epix, a Sony F3 and a Canon 7D. The Red recorded 4k, the F3 recorded 10bit ProRezHQ and then the 7D recorded native Mpeg-4. The images from the 7D look amazing but the editor grimaces because he can’t do much with this highly compressed file of the 7D.

Depending on the type of shooting you are doing you may never see a big difference between the two files you are recording. But you now have a solid broadcast quality video camera setup with a bullet proof external recorder that will service you well.

I also believe in redundant recording because mistakes happen. And you can choose the file wrapper to support the editing workflow with MXF or MOV.

If you are looking for comparison footage, go to Convergent_Design’s website.

Good Luck
Michael Palmer

[Michael Palmer]

So you can play the footage on the camera?
If so the computer may not be recognizing the connection to the camera. try another cable/computer port or another computer.

Good Luck
Michael Palmer