Sun Apr 02, 2017 9:22 pm
After more playing, it seems that if the zebras are set to 75 on the camera and switched on in the viewfinder, these show up in reference to the lut being used, (if you toggle the lut on and off at the camera end, the zebras come and go in the viewfinder)
On the lcd, the zebras always show white clip only of the underlying log regardless of how you set the percentage - you can see this if you turn on false color and scroll though the zebra percentages, they don't seem to make any difference on the lcd, and if you toggle the lut on and off, they don't change either.
If you set the zebras to say 75 (its where Im used to seeing them coming from a digibeta background!) AND switch them on in camera and in the viewfinder, you'll now see the 75 on your rec709 lut (BMD film-video) so you know exactly where your faces should be AND you'll see another set of thicker zebras which show where your underlying log is clipping. Brilliant! Best of both for me!
Coming from sony f5/55, the sony guru Alister chapman liked to set a 709 lut in the viewfinder and expose from that on the hoof, the rationale being that if your 709 was safe, the log would easily be safe. The down side of that being you're potentially throwing away range as the 709 lut would clip before the log, so you'd err on the side of caution.
This set up tho, seems to give both, you can use a nice contrasty 709 lut for exposing the middle bit where your faces are and its easier to focus from, yet you have an idea of whats happening underneath. Of course, if you're in a set up where you can keep flicking in false color, that shows you exactly what the log is doing over the full range, so that would clearly be the best solution. Quite often tho for me, I'll be on someone's shoulder where things are unfolding in front of or I might be going thru some dynamic lighting changes, so that's not possible.