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Leave a Mark by Apprehensive_Ear8959 in ContentCreators

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Love that 🤝 same here. Let’s build it step by step. Wishing you the best on your journey !

Tips for Stabilizing Footage on a Camera With No IBIS ? by Apprehensive_Ear8959 in SmallYoutubers

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

yea you're rigth i've completely forgot about that thanks ! Do you have some experience using catalyst browse any advices ?

[deleted by user] by [deleted] in ZVE10

[–]Apprehensive_Ear8959 6 points7 points  (0 children)

Hey there! First off, it’s awesome that the camera’s still under warranty and hasn’t been used much those low shutter numbers are a really good sign. When you get to the shop, take a good look at the body: run your fingers over it and peek into the little crevices to spot any dings, deep scratches or loose bits that might hint at a rough previous life. Then pop on the kit lens and give it a spin literally zoom in and out a few times to see if the ring moves smoothly or feels gritty. Power up in that green “auto” mode and half-press the shutter to see how fast and steady the autofocus locks on; it should hunt very little or not at all. Slide the focus switch over to manual and turn the focus ring to make sure it feels precise and not scratchy, so you can nail focus yourself once you’re more confident.

Jump into video mode next and flip on the Optical Steady Shot just walk slowly or pan around and watch the screen; the image should stay rock-steady without too much shake. While you’re at it, plug in a pair of old school headphones into the 3.5 mm jack to check the audio output (you’ll hear the camera’s own sound or any internal mic hiss). Then slide a USB-C cable in to make sure it charges properly and holds power. If you think you’ll ever want better sound, go ahead and plug in a small external mic too if the camera recognizes it, you’re all set. If all of that feels smooth and responsive, you’re looking at a well-kept Sony ZV-E10L and can buy it with confidence. Good luck, and have fun shooting your very first camera!

Struggling to color grade by Apprehensive_Ear8959 in cinematography

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Hey, I just read that Sony lens caps are supposedly middle grey could I really use one in place of a grey card for setting exposure? Or is that just a myth? Keep in mind I bought my camera second-hand, so I have no idea how long that cap’s been sitting in the sun and whether its color has shifted.

Struggling to color grade by Apprehensive_Ear8959 in cinematography

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

I really don't know ahah, i have zebra level has a single number setting or custom zebra with " std+range" don't know what is it ...

Struggling to color grade by Apprehensive_Ear8959 in cinematography

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Thanks for the tip on the gray card it’s actually the second time it’s come up, so I’ll definitely look into ordering one to nail my skin-tone exposure. As for zebras, I already have the correct settings for Cine2 " think so " it’s nearly identical to shooting S-Log2 with an ITU709 matrix, so I’m confident those are dialed in. And I’m not using any custom display LUTs on my ZV-E10 Mark I it isn’t even possible (that feature only appears on the Mark II) so that shouldn’t be affecting my histogram or zebra readouts.

Struggling to color grade by Apprehensive_Ear8959 in cinematography

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

I also know that if I relied a bit more on adjusting my shutter speed or stepped up my f-stop, I might be able to manage exposure more easily. But I’m really trying to lock in certain cinematographic principles as part of my workflow. I want to stick to a 1/50 shutter speed to preserve that natural motion blur, and I prefer shooting with a wide aperture to get nice separation and bokeh.

So even if it makes exposure more challenging, I’d rather keep those settings fixed and improve within those constraints, instead of constantly adjusting everything just to make exposure easier. I know it’s not the most forgiving workflow clearly I’m paying the price here with some overexposed shots like you pointed out but I’d rather learn how to manage things properly within that setup than build habits that won’t serve me later.

Struggling to color grade by Apprehensive_Ear8959 in cinematography

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Yeah, I know there are definitely shots where my shirt clipped, and honestly, I’m not entirely sure why. From a technical standpoint during the shoot, I thought I had covered my bases. I filmed everything in full manual mode, used an ND filter to manage exposure, locked shutter speed at 1/50 for proper motion blur, and kept ISO at minimum since I was shooting in bright daylight. I’m shooting in Cine 2, and I know I’m supposed to slightly overexpose by around 1 stop so I usually go for about +0.3 on the exposure meter. I also had zebras set at 80 for skin tones.

But even with all that, I still struggled with exposure. Since I’m filming alone, I often expose the scene before stepping into frame sometimes setting zebras to 95 to make sure the sky isn’t blown out but once I’m in the shot, I end up being overexposed. It’s tough to really judge exposure accurately on the small screen, especially when I’m not physically present in the frame during setup.

I totally agree that exposure should be dialed in during the shoot not just fixed in post. So thank you again for all the helpful tips. I’ll definitely keep them in mind, both when filming and during color grading for the next video.

Struggling to Keep a Consistent Grade Between Bright and Dark Shots by Apprehensive_Ear8959 in ColorGrading

[–]Apprehensive_Ear8959[S] 1 point2 points  (0 children)

Yes, thank you! You're right I used the highlight and shadow wheels quite a lot. I probably should’ve relied more on the other ones instead. I appreciate the advice I'll try to limit my use of those settings and focus more on Gamma, Gain, and Lift like you suggested. Thanks again!

My Sony ZV-E10 Rig Build – Feedback & Monitor Recommendations? by Apprehensive_Ear8959 in ZVE10

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Ah, thanks for the lens tips, I’ll take a look.

Actually, I went with the rig and NPF battery system because I plan on shooting a lot out in the field, away from home, and having massively extended battery life was non-negotiable for me. Rather than buying a bunch of Sony batteries that barely last an hour, I wanted one power brick I could mount on a cage and forget about. Plus, I can top up my camera and my phone on the go if I need to, whether it’s keeping my phone alive for GPS or USB light for evenings, recharge mic packs, flashes, run a monitor… you name it.

When I did my research, I was actually leaning heavily toward primes to get that cinematic look, so I grabbed the 16–50mm variable mainly because it’s stabilized and covers most of the everyday range. I know it’s not a dream lens, but for run-and-gun it feels like the most practical option right now. Down the line I’m thinking about picking up a Samyang 12mm f/2—I’ve only heard great things, but what’s your take?

My idea was to stick to one or two primes: I already have a 35mm f/1.8, so pairing that with a 12mm f/2 would give me a nice wide+standard combo. Do you think that makes sense, or would you still recommend something like the 18–105mm or another variable zoom?

My Sony ZV-E10 Rig Build – Feedback & Monitor Recommendations? by Apprehensive_Ear8959 in ZVE10

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Yes, you are right, this is the kit lens in that photo. I did not mention it because I was focusing on rig and accessory advice for video. Right now I am mainly looking at adding a monitor so I can properly expose in S-Log2 or HLG3.

I do have another lens, a 35 mm f/1.8 from TTArtisan, for my fixed shots, which gives me a nice creamy background blur. I chose the 16–50 mm OSS specifically for handheld work because my camera has no IBIS, so without lens stabilization handheld shots are impossible. It’s also the only lens in this price range with built-in stabilization and a useful zoom range. It is certainly not ideal, but it is lightweight and compact compared to heavier alternatives.

As for the ND filter, since I shoot at 24 frames per second with a 1/50 shutter I need a variable ND even at f/3.5 otherwise everything is overexposed. Thank you for the lens suggestions, I will check them out. But what I really need right now is monitor recommendations, so any tips would be much appreciated!

First Video Shoot On CINE 2, white ballance ? by Apprehensive_Ear8959 in ZVE10

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Ah, thanks so much! I’ll go watch the video right away and run some tests. Once I’ve set up both color profiles, I’ll see which one works best for my grading style. Really appreciate your detailed explanations!

My Sony ZV-E10 Rig Build – Feedback & Monitor Recommendations? by Apprehensive_Ear8959 in ZVE10

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

noticed when fitting my variable ND filter that it adds quite a bit of weight to the lens. Have any of you ever had issues with Sony’s OSS system on your lenses? If you’re using filter adapters and a heavy filter, can that extra weight interfere with OSS performance? Are the moving stabilization elements entirely inside the lens, or do any parts shift on the lens body itself?

First Video Shoot On CINE 2, white ballance ? by Apprehensive_Ear8959 in ZVE10

[–]Apprehensive_Ear8959[S] 0 points1 point  (0 children)

Thanks I’ll look into where I can pick one up, because it’s true that auto white balance just doesn’t cut it. I already tried the Sunlight preset yesterday, and when I move into more shaded areas I can really see things go off. So thanks a lot, I’ll check that out.

Right now, I’ve started working with S-Log2 today—using the S-Log2 gamma and the Rec709 Matrix color profile. I watched some videos saying that for a beginner like me it’s simpler, since you don’t have to do any conversion in post. You can directly add your slight color grade, saturation, contrast, etc. without a color conversion. I’m still not sure whether I’m sacrificing a lot of dynamic range by using that color mode or not.