📷 Camera Settings Guide

⚠️ Critical: Match Frame Rate & White Balance

Both cameras MUST shoot the same frame rate (24.00fps) and white balance (5600K). Mixing will cause sync issues and color mismatches.

Resolution & Frame Rate

Blackmagic 6K:

• Resolution: 6K (6144 x 3456) or 4K DCI (4096 x 2160)
• Frame Rate: 24.00fps (cinematic) or 23.976fps
• Codec: Blackmagic RAW (BRAW) — Constant Quality Q5 or 5:1 compression

Sony A7R II:

• Resolution: 4K UHD (3840 x 2160) — matches Blackmagic 4K output
• Frame Rate: 24.00fps or 23.976fps (MATCH Blackmagic exactly)
• Codec: XAVC S 4K (100Mbps)

⚠️ CRITICAL: Both cameras MUST shoot the same frame rate (24.00fps or 23.976fps). Mixing will cause sync issues.

Exposure Settings

Blackmagic 6K:

• ISO: 400 (native) or 3200 (dual native)
  • Use ISO 400 for well-lit interviews
  • Use ISO 3200 for low-light B-roll if needed
• Shutter Speed: 1/48s (180° shutter at 24fps) — motion blur standard
• Aperture: f/2.8–f/4 for interviews (sharp, slight background blur)
  • f/1.4–f/2.8 for shallow DOF B-roll

Sony A7R II:

• ISO: 400–800 (clean range, matches Blackmagic ISO 400)
  • Can push to 1600–3200 if needed (excellent low-light)
• Shutter Speed: 1/48s or 1/50s (match Blackmagic)
• Aperture: Match Blackmagic for similar depth of field
  • f/2.8–f/4 for interviews
  • f/1.4–f/2.0 for shallow DOF B-roll (50mm lens advantage)

Matching Strategy:

• Expose both cameras to the same middle gray (18% gray card)
• Use false color or waveform monitors to match exposure levels
• Zebras at 70% to protect highlights
• Aim for skin tones at 50-60 IRE on both cameras

Color Settings (CRITICAL FOR MATCHING)

Blackmagic 6K:

• Color Space: Blackmagic Film (Log) — maximum grading latitude
• White Balance: Manual — set to 5600K (daylight/tube lights) or custom
• Tint: 0 (neutral)
• Color Bars: Record at start of each session for reference

Sony A7R II:

• Picture Profile: PP7 (S-Log2) — closest match to Blackmagic Film
  • Gamma: S-Log2
  • Color Mode: S-Gamut
  • Black Level: 0
  • Saturation: -3 (desaturated for grading)
  • Detail: -7 (reduce sharpening, match Blackmagic's softer look)
• White Balance: Manual — match Blackmagic (5600K or custom)
• Tint: 0 (neutral)

Alternative Sony Profile (if S-Log2 is too flat):

• Picture Profile: PP6 (Cine4)
  • More contrast than S-Log2, easier to match in post
  • Still gradable, less extreme

⚠️ CRITICAL: Both cameras MUST use the same white balance value. Use a gray card or color checker at the start of each setup.

White Balance Workflow

Setup Process:

1. Place gray card or color checker in interview lighting
2. Set Blackmagic to manual WB: Point at gray card, set custom WB
3. Note the Kelvin value (e.g., 5400K)
4. Set Sony to same Kelvin value manually
5. Verify match: Both cameras should render gray card as neutral gray
6. Record color chart on both cameras for post-production reference

Tube Light Color Temperature:

• Most LED tube lights are 5600K (daylight) or 3200K (tungsten)
• Check your specific tube lights — they may have adjustable CCT
• Match all 4 tube lights to the same color temperature
• Avoid mixing daylight and tungsten

Focus & Depth of Field

Blackmagic 6K (17-50mm lens):

• Focal Length for Interviews: ~35mm equivalent (25mm actual on S35 sensor)
• Aperture: f/2.8–f/4
• Focus: Manual focus, use focus peaking
• Depth of Field: Moderate — subject sharp, background soft but recognizable

Sony A7R II (50mm lens):

• Focal Length: 50mm on full-frame = ~75mm equivalent field of view
• Aperture: f/2.8–f/4 to match Blackmagic DOF
  • Note: 50mm f/2.8 on full-frame ≈ shallower than 35mm f/2.8 on S35
  • May need to stop down to f/4–f/5.6 to match Blackmagic's DOF
• Focus: Manual focus, use focus peaking or magnification
• Depth of Field: Shallower due to full-frame sensor + longer lens

Matching DOF Strategy:

• For interviews: Use f/4 on Sony to approximate f/2.8 on Blackmagic
• For B-roll: Embrace Sony's shallower DOF (50mm f/1.4–f/2.0) for isolation shots
• Test shots: Compare side-by-side before main filming

Interview 3-Point Lighting (Architectural/Clean)

Key Light (Tube Light #1):

• Position: Camera left, 45° angle, eye level or slightly above
• Intensity: 60-80% power
• Quality: Soft but directional — use diffusion if needed
• Purpose: Primary illumination, sculptural modeling

Fill Light (Tube Light #2):

• Position: Camera right, lower angle
• Intensity: 30-40% power (half of key)
• Quality: Very soft, ambient
• Purpose: Lift shadows, maintain detail without flattening

Rim/Edge Light (Tube Light #3):

• Position: Behind subject, camera right, aimed at back of head/shoulder
• Intensity: 50-70% power (can be brighter than key)
• Quality: Hard, focused
• Purpose: Separation from background, Lotus Theory edge definition

Background Light (Tube Light #4):

• Position: Behind subject, aimed at background wall
• Intensity: Variable (30-60%)
• Purpose: Create depth, gradient on background, avoid flat black

Lotus Theory Modification:

• Increase rim light intensity for dramatic edge separation
• Keep background darker than subject (high contrast)
• Avoid warm tones — neutral/cool color temperature
• Clean, minimal shadows — not Rembrandt or dramatic noir

Zoom F3 (Primary)

• Sample Rate: 48kHz
• Bit Depth: 24-bit
• Format: WAV
• Levels: -12dB to -6dB peaks (leave headroom)
• 32-bit float: Use if available (never clips)

Zoom F2 (Backup)

• Settings: Match F3
• Purpose: Redundancy, secondary subject if needed

Before Filming

• ☐ Both cameras set to same frame rate (24.00fps or 23.976fps)
• ☐ Both cameras set to same white balance (manual, Kelvin value)
• ☐ Both cameras using Log profiles (Blackmagic Film, S-Log2)
• ☐ Gray card/color checker available for reference
• ☐ Test shots recorded and compared on monitor
• ☐ Exposure matched using waveform/false color
• ☐ Focus peaking enabled on both cameras
• ☐ Zebras set to 70% on both cameras

During Filming

• ☐ Record color chart at start of each setup (both cameras)
• ☐ Check white balance if lighting changes
• ☐ Monitor exposure — maintain consistent levels
• ☐ Verify focus on critical shots (use magnification)
• ☐ Log good takes — note shot numbers for editor

After Each Setup

• ☐ Review footage on larger monitor if possible
• ☐ Check for exposure/color drift between cameras
• ☐ Verify audio sync (clap or slate)
• ☐ Backup media to secondary storage