The 100% Zebras refer to 100% IRE NOT 100% of 255 so you still have headroom beyond 100%.
A camera that has a knee function may extend highlights to around 400% before actual clipping.

Bob.

Thank you Bob, i am going to set up a white area and check the cams limits against what the zebra shows. Was thinking 100% was , well ... 100% ie 255.. . :)

Paul.

Of course Bob, you were right. Checked the zebras and sure enough, even when set to 100%, there is another 5-10% left of headroom before clipping. Trouble is, can't seem to find a way to set the zebra level this high, not on this camera. I just got a "+100%" setting. And thats where i set it.
But its good to know this is in fact not actual clipping point, rather a guide saying 'its getting very close'.. correct?
Jerry, this is your thread, but i hope this is relevant to your zebra settings too.

Paul.

"Of course Bob, you were right. Checked the zebras and sure enough, even when set to 100%, there is another 5-10% left of headroom before clipping. Trouble is, can't seem to find a way to set the zebra level this high, not on this camera. I just got a "+100%" setting. And thats where i set it. Hey! I'm fine with continuing this discussion - I'm learning stuff, too.

Turns out that the AC-130 can set a custom Zebra to 105% - as I understand it, 109 is max and equals 255.

...Jerry

Thanks Jerry, i have never really fully understood the operation of zebras except knowing it was a guide to exposure.. been relying on histograms and false colour indicators on external monitors!. So this is great info. I think the idea of a zebra indication is really useful, being able to view it all the time even while shooting - unlike a false colour indicator which is impossible to view while filming.
Good stuff. So setting your camera to 105% would give a pretty close indication of clipping - or very near to. Whereas my cam with its +100%, well, maybe i should read the book. But its got to be close i think.
I like zebras, nice animals...

Paul.

"I like zebras, nice animals... "

We couldn't live without them :)

Zebras also have an aperature, obviously the don't light up only at the set value otherwise they'd be dancing something fierce. Only today I discovered in the PMW-350 the aperature value is user configerable. For those like me who cannot afford such cameras it's just another thing you've got to get a feel for.

Also worth a mention is that the 100% zebra will usually indicate anything at 100% or over whereas the other zebras will only indicate anything just below or above the setting.

Bob.

The AC 130/160 have another thing which I value more than zebras for judging right exposure.
The build in Waveform Monitor (WFM) which shows a graph of the video signal of the whole picture.
It can be turned on/off with a button and you can see where in the picture there is expose-failure. Small overexposed parts can be hard to see on the LCD with zebras but are easy to see in the WFM monitor.
And if you have an external monitor you can have the LCD showing WFM all the time.
/Aje

Yes, in addtion to the Waveform display mentioned by Aje, there's also a builtin vectorscope (although I'm having a hard time envisioning how I'd ever use an in-camera vectorscope).

...Jerry

Nice Jerry.

Don’t be scared to experiment, shooting hot can be visually correct but not politically correct
Shooting hot has little roof space for expanding in production but can still look good.

"although I'm having a hard time envisioning how I'd ever use an in-camera vectorscope"

All these things have their uses IF you're shooting set pieces in a studio.
Pretty much what you're shooting is the same as ENG, you've got to get the shot.
Not only does it have to be exposed correctly (whatever that means), it has to be framed, it has to be in focus and YOU might even have to get the audio levels right and good grief, wrangle the talent.
Zebras are the easiest tool to live with, minimal clutter in the viewfinder although even then I can find them distracting from all the other tasks. A WFM is a good thing but it doesn't really tell you what is where unlike zebras.

Anyway, regardless, the most important thing is to get out and about shooting something. Just one small word of warning from my experience.
If your camera has an auto knee function be careful of over exposing. If you manage to push skin tones into the knee region it can look pretty bad, been there, done that. On the other hand I can expose for skin knowing that the auto knee will take care of the highlights, phew. A lot of the pros will frown on this and that's fine for them, they sleep with their cameras.

Bob.

"Anyway, regardless, the most important thing is to get out and about shooting something"..

+1

Paul.

For what it's worth I had a play with my old Z1 HDV camera today. The zebras can be set at 100+ or 100 or in increments of 5 down to 70. I compared footage of a cloudy sky against the Vegas scopes, and just as Bob says, 100 does not refer to 255 but 235. Going diving with it for a few days, and will be paying more attention to those zebras than I used to. Thanks to the members of this forum I'm a lot more exposure-aware than last time I used it. Setting the zebras to 100+ makes the most sense to me, especially for underwater use.

The thought and look of a bigger camera is an ego stroker, but just based on the Image Quality of the captured video... I'm not so sure the AC is the clear winner. I too like having knobs, dials, and switches that are easily accessible.

Okay, here's round two of test footage for the BHC (Big Honkin' Camera). I still see several areas of improvement including:

1) Stabilization artifacts. However, this was entirely handheld at 620mm 35mm equivalent.
2) Reliance on autofocus - in some sequences the camera focused on the grass in front of the fox.



...Jerry (who's still learning and will improve)

A bit biased here, I love foxes, even had one in my home for a day.

"1) Stabilization artifacts. However, this was entirely handheld at 620mm 35mm equivalent."
Why wasn't the camera on a tripod. I'm being harsh but I have this issue with so many people it drives me nuts.

" 2) Reliance on autofocus - in some sequences the camera focused on the grass in front of the fox."

One day Autofocus will be able to read minds. In the interim closing the iris can help . Obviously not too much or diffraction will soften the image.
Those kinds of shots with the best cameras and crews can have a signifcant shooting ratio though so don't be hard on yourself.
Try going to manual focus. It takes a LOT of practise and I'm generally hopeless at tracking. You just have to stick at it until it becomes second nature and you can do it with your eyes closed.

Bob.

Nice Jerry, and i always have a chuckle at your intro :)
Looks good, and i dont think any auto focus in the world could nail the shot of the fox behind the grass. Thats where manual comes in..
Exposure looks spot on. Using zebras?
Fast shutter? 300th maybe? seeing a little strobing in the movement like a sports short. Some people like it, other not. I always keep to a 50th (pal land) 60th ntsc.
Can see the heat waves too, thats some distance, nice lens.

cool.

Paul.

sorry Bob, kinda posted at the same time.. hehe.

Paul.

"Why wasn't the camera on a tripod. I'm being harsh but I have this issue with so many people it drives me nuts.Ahhh! The best laid plans of mice and men. I had my camera mounted on my tripod and quickly abandoned it. The humorous sequel to this shoot would have been shots of me running down the roads and meadows trying to catch that bugger. Every time I set up my tripod, he (or was it a vixen?) would run 25 yards away. Then I got my wife wife to drive me with my camera hanging out the window. Everytime I opened the car door the fox would bolt.

re: the reliance on autofocus - this is where I'm learning. This camera has a focus assist that highlights the areas that are in-focus. I need to either turn this on constantly and/or learn the situations where alternate focus areas are problematic.

I'll get better, in the meantime I'll subject this forum to my imperfect trials.

...Jerry

In Australia we prefer to shoot the Fox dead first; here a dead Fox is a good Fox; for sure stops it moving.

"Nice Jerry, and i always have a chuckle at your intro :)See my comments on auto focus in my previous post.

I did a lot of testing on zebras and exposure. First I tried the "Knee" settings which improved the blown out whites, but an even better solution turned out to be a setting for DRS - "Dynamic Range Stretching".

"Heat waves" Ha! Fooled you, too. It was 40°F that day (yesterday). Those "heat rays" were the stabilization artifacts.

...Jerry

Edit: I varied the shutter between 1/500 & 1/1000 sec.

+1 christoc!!!!

i especially like the 1/2 > 3/4mt ones you see on the road ;-)

"The humorous sequel to this shoot would have been shots of me running down the roads and meadows trying to catch that bugger. Every time I set up my tripod, he (or was it a vixen?) would run 25 yards away."

I don't know about foxes in the USA but I think you need to learn more about your talent.
I've been able to get a fox to walk right up to me and take a cooked suasage out of my hand. He would then walk away a distance, turn and look at me and then eat the sausage. Before he walked to me he walked in an arc until he was down wind from me. Foxes are curious creatures but also very wary. You can use good smelling food or a call to get foxes to come very close to you. Chasing after an animal is generally very counter productive.
Shooting wildlife with a gun or a camera requires patience, perserverance and an understanding of the animal. It can be a very rewarding and relaxing experience though.

Bob.