In the second part of our three-part series on the Sony PMW-F3, I look into the camera's dynamic range and the various gamma modes that it offers. The test results were quite impressive, and I learned more about the different Cine Gamma modes built into the camera.

We've done a lot of testing with the Sony PMW-F3 camera and had great results. Our tests included sensitivity, dynamic range and low light performance. In a three part series, Mitch and I will cover all of these topics with the hopes of shedding light on what this camera can do.

A few weeks ago, Jesse Rosen wrote an article explaining the technical definition of LOG-encoded video and how it differs from a viewing gamma such as REC709. To better understand how you might use LOG capture in production, I shot this video illustrating the differences.

Our eyes perceive brightness differently than an electronic sensor does. Video monitors are locked into a standard for color and contrast, but now Digital Cinema camera systems are being used to capture images that are used and displayed in media that can see well beyond those limitations.

Today's cinematographer is constantly switching between a variety of cameras and lenses. For a long time, the professional standard in film and sensor sizes were 16mm, 35mm and 2/3". Recently the choice of digital cameras has increased, and this has created a lot of confusion concerning sensor size, focal length and field of view.

There's a lot of misinformation out there about rolling shutters on electronic cameras and how they do or do not affect the image. The popularity of the Sony PMW-EX1 and EX3 cameras has really stepped up this debate. But what does it actually mean? In brief, a Global Shutter captures all of the information from every photosite on a chip all at once. A Rolling Shutter reads off the photosites line by line. But that's just the beginning. Let me try to clear up some misnomers and misconceptions.