Jonas Schubach

Hi everyone, I have an upcoming shoot where the lighting will be close to monochromatic in deep red (including the light on the talents' faces) and I always find it hard to judge the correct exposure in such a case. I would assume that the camera's internal spot meter (Sony FX3) will be quite off in this case, as would an incident meter be. Does anyone have any tips on this topic or best practices? Any input is much appreciated. Thanks!

In this demo on ACES (https://www.cinematography.net/CML - ACES for cinematographers, the simple approach and why you need it.html, at TC 26:05), Geoff Boyle pulls up the waveform scopes of an Alexa and an Ursa and as he looks at the noise levels in the shadows he laughs and says: "One is 70grand camera, and the other is a 7grand camera..." (paraphrased) It seems quite obvious to him, but I'm not sure what the scopes are telling me here. I'd say I can see that the Alexa is noisier, perhaps that is because less NR has been applied. Can anybody perhaps point out to me what big difference in these waveforms Geoff was referring to?

I think in many cases the CGI look of the faces comes from too aggressive digital de-ageing. I don’t believe it is due to the use of LEDs - it’s not like HMIs have perfect color rendition. And like others pointed out there are many beautifully LED-lit films with more “natural” faces.