Sony FS5 Quick Start Manual

Borrowing%the%SONY%FS5%from%the%CDA • To&borrow&the&Sony&FS5&camera&from&the&Centre&for&Digital&Arts&you& must&take&a&short&test&on&the&contents&of&this&guide. • Complete&the&online&test&or&email&Phil&Hawes&to&receive&the&written& test&after&you&have&read&this&guide.&The&test&might&take&about&20& minutes&to&complete. • [email protected] • The&borrowing&period&for&the&camera&is&72&hours&for&undergraduate& students&and&one&week&for&MFA&students.&

This%is%a%professional%HD%and%4K%camera%with% broadcast%quality%codecs.%The%4K%RAW%upgrade%is% coming%next%year!

Sony%FS5%Kit Camera&and&Lens Batteries&and&Chargers There&are&two&BPU&60&and one&BPU&30&battery. Condenser&Microphone

Important: • The&whole&kit&(camera,&lens,µphone,&batteries,&and&SD&cards)&is& worth&about&$9000. • The&camera&is¬&waterproof.&It&must&be&protected&from&rain&and& snow. • When&shooting&in&cold&weather,&keep&the&camera&in&the&bag&for&(at& least)&30&minutes&when&you&come&indoors.&This&will&avoid& condensation&on&the&camera&and&electronics.

Using%the%LCD%or%the%Viewfinder • By&default,&the&viewfinder&is& off&when&the&LCD&is&on.& • The&power&switch&for&the&LCD& is&on&the&top&of&the&LCD. • If&you&do¬&see&an&image&in& the&LCD&when&the&camera& turns&on,&the&battery&might&be& dead&or&the&LCD&might&be&off!

Switching%Between%LCD%and%Viewfinder • Menu/&Display&Set/&VF/LCD&Panel/& • You&have&two&choices&in&this&menu&setting: • 1.&LCD&Panel:&this&turns&off&the&viewfinder&(eyepiece) • 2.&AUTO:&this&will&turn&off&the&LCD&when&you&put&your&eye&up&to&the& viewfinder.&You&may&accidentally&turn&off&the&LCD&using&this&setting& hence&the&first&choice.

SD%Card%Slots 2%X%128%GB%class%10%SDXC%cards%(95%MB/s) • XAVC&HD&1080&50&Mbps&280& mins.&per&card • 4K&QFHD&100&Mbps&150&mins.& per&card

the&factory&presets&– except&for&the&Picture&Profiles!

Choosing%a%Frame%Rate • NEVER&shoot&interlaced&frame&rates.&All&display&equipment&is& now&progressive. • NEVER&shoot&PAL&frame&rates&unless&you&are&planning&to& show&the&video&exclusively&on&European&or&Asian&video& display&technology.

Common%Notation for%NTSC%Video%Formats • vertical&resolution/frame&rate/scan&type • 1080&60p&=&1920&x&1080&59.94&fps&progressive • 1080&24p&=&1920&x&1080&23.976&fps&progressive • 1080&30p&=&1920&x&1080&29.97&fps&progressive • 1080&60i&=&1920&x&1080&29.9&fps,&60&interlaced&fields&(AVOID&THIS) • 2160&30p&=&&3840x2160&29.97&fps&progressive • 2160&24p&=&&3840x2160&23.976&fps&progressive

Three%criteria%for%choosing%a%recording% format: • 1.&a&NTSC&frame&rate • 2.&a&progressive&frame&rate:&24p&for&slower&motion&or&30p&for&faster& motion&(60p&is&for&shooting&slow&motion,&it&is¬&a&standard&video& speed) • 3.&the&best&quality&codec:&XAVC&HD&for&HD&video • 4.&the&highest&bit&rate&of&that&codec:&50&mbps&for&XAVC&HD,&100&mbps& for&4K&QFHD&

4K%video%is%not%recommended. • You&may&assume&that&4K&video&is&the&best&quality&recording&format.& This&is&a&false&assumption. • 4K&QFHD&is&a&larger&but&lower&quality&image&than&XAVC&HD.&It&has& about&half&of&the&color&information&of&XAVC&HD,&making&it&much& harder&to&color&correct.&It&is&also&more&prone&to&image&noise&at&higher& ISOs.

Reasons%not%to%shoot%in%4K • Currently,&there&are&no&4K&displays&or&projectors&in&the&CDA&depot.& • In&your&classes&and&in&Concordia&galleries,&all&video&is¤tly&being& displayed&at&an&HD&size:&1920x&1080.& • 4K&is&harder&to&edit.&Computers&work&harder&to&edit&4K&XAVC&video& because&it&is&highly&compressed.

Reasons%to%shoot%in%4K • Shoot&4K&video&if&you&have&4K&video&distribution&in&mind:&a&4K&DCP&for& film&festivals,&for&example,&or&a&4K&video&split&across&two&HD& projectors. • Next&year&the&CDA&will&purchase&a&4K&RAW&upgrade&for&one&camera,& then&4K&image&quality&from&the&camera&will&improve&and&(if&you&shoot& in&4K&Pro&Res&422)&editing&will&be&easier.

Menu:%Choosing%a%Recording%Format • Rec/Out&Set&Menu/&Rec&Set • Choose&the&50Mbps&option&for&XAVC&HD

Menu:%Card%Recording%Options • Relay&Rec&will&allow&you&to&record&between&card&A&and&B& seamlessly&(without&gaps) • Simultaneously&Rec&will&record&to&both&cards&at&once&or&you& can&assign&different&record&buttons&on&the&camera&to&each&card

Audio%Inputs The&camera&has&a&built-in&stereo& microphone&on&the&handle. It&has&also&has&two&XLR&inputs&and&a&hot& shoe.&Use&the&condenserµphone& included&in&the&camera&kit&(side&pocket&of& the&bag). The&built-inµphone.&It&will&pick&up&room&noise.

Attaching%the%Microphone • The&condenserµphone&attaches&to&XLR&INPUT&2.& Choose&the&setting&MIC&+48V • There&is&a&clip&for&the&cable&underneath&the&XLR&input

Second%XLR%Input%(Input%1) If&you&have&otherµphones,&the&second& XLR&input&is&on&the&back&of&the&camera&behind& the&hand&grip. You&may&have&to&move&the&grip&in&order&to&set& the&LINE/MIC&level&for&the&input. This&button&adjusts&the& grip&position.

Menu:%Choosing%Audio%Input When&the&external&condenserµphone&is&plugged&in&choose: Audio&Set&Menu/&CH2&Input&Select/Input&2. CH1&Input&Select&can&remain&on&Internal&Mic&if&there&is&no&otherµphone– this&is& the&stereoµphone&on&the&handle.&You&don’t&have&to&use&this&channel.

Audio%Controls- Auto%or%Manual Flip&down&the&little&door&to& adjust&the&audio&volume& levels&manually. The&AUTO&level should&be&sufficient& however.

FULL%AUTO • Although&the&camera&has&many& controls,&you&can&operate&it&in& FULL&AUTO&mode&with&AUTO& exposure,&AUTO&white&balance& and&AUTO&focus.

Full%Auto%Exposure:%Full%Auto%Button Toggle&this&button&to&go&from& Full&Manual&Exposure&to& Auto&Exposure. FULL&AUTO&will&tend&to&adjust&the& ISO&and&IRIS&settings&but&keep the&SHUTTER&setting&constant.& Normally&the&shutter&should&be& kept&at&double&the&frame&rate. FULL&AUTO&also&adjusts&white balance&automatically&but&slowly.

Full%Auto%exposure%in%Display • Notice&the&“A”&symbol&next&to&the& IRIS,&ISO&and&Shutter&speed&in&the& display. • Keep&an&eye&on&these&settings&when& in&FULL&AUTO&mode • If&your&ISO&goes&above&3200,&you&may& have&noise&in&the&image.&Don’t& confuse&3200&ISO&with&32000&ISO! 1/60th of&a&second&is&the&correct&shutter&speed&for&30p&video.

AE%Shift The&AE&SHIFT&menu&item& controls&automatic&exposure& compensation.&Every&shot& can&be&deliberately&under&or& overexposed&by&the&camera. This&is&most&useful&when& used&with&SLOG&Picture& Profiles&(more&on&that&later).

AE%Shift If&you&are&shooting&in&auto& exposure&but¬ using&a&SLOG& picture&profile&then&there& should&be&no&AE&Shift&(&0&EV).& Check&this&in&the&LCD&display&or& menu&setting. If&you&are&shooting&in&a&SLOG&2& or&SLOG&3&picture&profile&with& auto&exposure,&then&the&AE& SHIFT&should&be&set&to&1.5&EV. There&is&detailed&information& on&Picture&Profiles&later&in&this& guide. AE&SHIFT&level&indicator

Manual%Focus: Auto/Manual&Focus Toggle&on&Camera&Side Focus&Magnification&button&on&Handle Control&Focus&with&the&smaller&width&ring.

Auto%Focus: For&continuous&Auto&Focus,&move&the&switch&to&AUTO In&Manual&Focus,&you&can&get&an&auto&focus&momentarily&by pressing&the&PUSH&AUTO&button&below. Focus&Peaking&is&available&if&you&need&it,&in&the&DISPLAY&SET/ PEAKING&menu.

Sony%E%PZ%18-105mm%f/4%G%OSS%Lens This&is&the&kit&lens. Other&lenses&will&require&a& Sony&E&Mount&adapter.&

This%is%a%varifocal%lens. • Focus&will&shift&as&you&zoom&so&when&are&manually&focusing&you&may& lose&focus&while&zooming. • This&will&often&occur&if&you&start&on&a&wide&angle&and&then&zoom&into& your&subject.&In&this&case,&focus&first&completely&zoomed&into&the& subject&and&then&zoom&out&to&start&the&shot.& • Remember&that&a&smaller&aperture&opening&(larger&aperture&number)& will&give&you&a&greater&depth&of&field. • A&wide&focal&length&will&also&give&you&a&greater&depth&of&field. • Use&focus&peaking&to&confirm&what&is&in&focus.

Steady%Shot%(Stabilization) • This&is&for&lenses&that&support&Steady& Shot&(like&the&Sony&E&Mount&lens&on& the&camera). • Keep&Steady&Shot&on&Normal • Turn&off&Steady&Shot&when&the& camera&is&on&a&tripod • CAMERA/PAINT&MENU&/STEADYSHOT

Slow%Motion%Recording • The&camera&has&two&possible&slow&motion&speeds:&a&S&Q&motion&setting& and&a&Super&Slow&Motion&setting. • In&each&of&these&settings,&there&is&a&REC&FORMAT,&the&recording&format&that& determines&how&the&clip&will&be&interpreted&by&editing&software&like& Premiere,&and&a&FRAME&RATE,&the&actual&frame&rate&that&the&camera&is& shooting&in.& • When&shooting&slow&motion,&the&REC&FORMAT&will&always&be&fewer&frames& per&second&than&the&FRAME&RATE. • These&settings&can&be&made&in&Menu/&Camera/Paint/&Slow&Quick • S&Q&settings&can&go&up&to&60&fps • Super&Slow&Motion&settings&can&go&up&to&960&fps

Slow%and%Quick%(slow%motion) Here&the&S&Q&frame&rate&is&60& fps&and&the&recording&format&is& 1080&30p.& The&camera&will&shoot&at&60& frames&per&second. But&the&file&will&appear&in& Premiere&as&1080&30p&and&play& back&on&a&1080&30p&sequence&at& 50&percent&speed.

Super%Slow%Motion Here&the&super&slow&motion& frame&rate&is&120&fps&and&the& REC&FORMAT&is&1080&30p.& This&means&that&the&file&will& appear&in&Premiere&and&play& back&on&a&1080&30p& sequence&at&25&percent& speed.

Slow%and%Quick%Shooting Press&the&S&Q&button&to&toggle& between&the&normal&frame&rate,&the& slow&motion&frame&rate&and&super& slow&motion&frame&rate. The&frame&rate&will&appear&in&the&LCD& display. You&cannot&record&sound&in&S&Q& mode.&

• At&240&fps:&1/500th of&a&second • At&480&fps:&1/1000th of&a&second • These&are¬&perfect&ratios,&but&don’t&worry. • The&higher&the&shutter&speed;&the&greater&amount&of&light&you&will&need.

Super%Slow%Motion%Trigger You&must&set&the&Rec&Timing&for& super&slow&motion&frame&rates& (frame&rates&above&60p). It&is¬&possible&to&shoot&at High&Frame&Rates&for&long&durations.& Set&the&REC&TIMING&menu&item for&when&to&trigger&the&recording. START&TRIGGER&begins&recording once&you&press&the&record&button.

Recording%Times%for%Slow%Motion • The&recording×&for&really&high&frame&rates&are&limited. • The&amount&of&time&you&can&record&in&slow&motion&depends&on&the& amount&of&space&on&the&SD&card.&Ideally,&shoot&with&an&empty&SD& card. • For&example,&with&the&REC&FORMAT&at&1080&30p&and&the&FRAME&RATE& at&240&fps&you&will&get&about&one&minute&of&recording&time.

Manual%Exposure%Settings • Manual&exposure&relies&on&the&following&things: • White&Balance • Iris • Shutter&Speed • ISO • And&possibly&ND&filter&settings

Manual%White%Balance The&camera&will&White&Balance&in&FULL&AUTO&Mode&but Manual&White&Balance&is&preferable.&The&WHT&BAL&button&toggles between&manual&and&auto&white&balance. To&do&a&manual&white&balance,&set&the&WHIT&BAL&switch&on&the&side&of& the&camera&to&either&A&or&B&(you&can&store&two&manual&WB&settings). Point&the&camera&at&a&white&card&with&light&falling&on&it. Press&the&WB&SET&button&on&the&front&of&the&camera. The&Preset&Switch&is&controlled&by&the&Camera&Menu: CAMERA&PAINT/WB&PRESET.&There&are&indoor/outdoor&and&color temperature&presets. Manual&White&Balance&does¬&work&in&SLOG.&The&white&balance&is set&in&the&SLOG&Picture&Profile&settings.

White%Balance%Menu%Settings On&the&WB&toggle&switch&on&the&side&of&the&camera,&the&last&setting&PRESET& is&determined&by&the&WB&TEMP&SET&in&the&CAMERA/PAINT&menu.&

Manual%Exposure • In&complete&manual&exposure&there&is& no&“A”&Symbol&next&to&ISO,&IRIS&or& SHUTTER. • The&ISO,&WB&and&SHUTTER&buttons&will& toggle&between&AUTO&and&Manual.& • Always&keep&the&Shutter&on&Manual& and&at&twice&the&frame&rate,&unless you& want&a&motion&effect.

ISO/Gain%Settings The&ISO/Gain&switches&can&be&set&to&control&either&ISO&or&GAIN&presets. There&are&three&presets&(L,&M&and&H)&set&in&the&Camera/Paint&menu&under&ISO/GAIN&SEL.& So&you&can&have&three&GAIN&or&three&ISO&settings&to&choose&from.

ISO%or%GAIN? • If&you&are¬&shooting&with&SLOG&Picture&Profiles&(PP7&to&PP9)&then&use&GAIN& settings&as&your&presets. • 0dB&gain&is&the&native&ISO&of&the&camera.&This&will&ensure&that&there&is&no&noise&in& the&image.&If&you&need&more&light&sensitivity,&increase&to&the&minimum&amount&of& GAIN.&Start&with&3&dB. • If&you&are&shooting&with&a&SLOG&Picture&Profile,&then&use&ISO&settings&as&your& presets.&3200&ISO&will&give&you&the&maximum&dynamic&range&of&the&camera,&and& (when&properly&exposed)&no&visible&noise. • You&may&also&wish&to&use&ISO&settings&if&you&are&judging&exposure&with&a&handheld& light&meter.

Manual%IRIS%adjustments There&are&two&wheels& to&adjust&the&IRIS. To&use&the&wheel&on& side&of&the&camera,& select&the&IRIS&switch& next&to&the&wheel. Or&use the&wheel&on& the&hand&grip. Switch&to&IRIS

Histogram% • Keep&the&Histogram&in&the&Display&to& judge&overall&contrast&and&whether&areas& are&over&or&underexposed. • Display&Set&Menu/&HISTOGRAM • In&a&studio&situation,&you&may&plug&in&an& external&waveform&monitor&to&judge& exposure&more&accurately.&

Zebra%Stripes • Zebra&Stripes&are&useful&but&distracting. • Assign&a&Zebra&Stripe&level&to&judge& overexposure&(a&level&of&100&IRE)&or&at another&level&to&determine&exposure&for& a&specific&feature&(like&flesh&tone& highlights&at&70&IRE). • Display&Set&Menu/&ZEBRA

Assigning%Zebra%Stripes%to%a%Button • It&helps&to&assign&Zebra&Stripes&to&a&button&on&the&camera&(button&5& on&the&Handle)&so&they&can&be&easily&toggled&ON&and&OFF System&Menu/Assign&Button Note&that&there&are&two&zebra&stripe&level&settings. When&you&press&the&assigned&zebra&stripe&button&then you&will&be&selecting&the&first,&then&the&second&setting and&then&back&to&the&first&setting&again. It&may&help&to&set&both&settings&to&the&same&level.

ND%filter ND&Filters&cut&light&(make&the&image darker). By&default&the&ND&filter&knob&should& always&be&in&the&CLEAR&position.

Using%ND%filter%Presets The&ND&filter&knob&functions&like&a&normal&ND&preset&toggle&switch&when&the&switch&below& is&set&to&PRESET.& You&can&set&three&ND&levels&in&the&CAMERA/PAINT&menu.

Using%the%Variable%ND%filter Move&the&ND&filter&knob&to&the&highest&(darkest)& preset,&turn&the&switch&below&to&VARIABLE&and&then& turn&the&switch&below&that&to&ND. The&wheel&will&then&adjust&the&ND&level&variably. The&variable&ND&is&useful&if&you&want&to&maintain&a& consistent&f&stop&(IRIS)&in&variable&light&conditions. It&is&a&simple&way&to&adjust&exposure without&affecting&depth&of&field. Switch&to&ND Switch&to&Variable

Manual%Shutter%Control Press&the&SHUTTER&button&to&toggle&between&manual& and&auto&shutter.&In&manual,&move&the SEL/SET&wheel&to&adjust&shutter&speed and&then&press the&SEL/SET&wheel&to&maintain&that&speed. If&the&shutter&speed&falls&below&twice&the&frame rate,&you&will&have&motion&blur. The&faster&the&shutter&speed&the&more&staccato-like& the&motion. Don’t&adjust&shutter&unless&you&want&a&motion&effect. Keep&it&at&twice&the&frame&rate.

Working%with%the%default%Picture%Profiles • This&guide&refers&to&the&default&settings&in&each&Picture&Profile. • Unfortunately&System&Menu/Initialize&does¬&reset&the&Picture& Profiles. • Each&Picture&Profile&can&be&adjusted&manually,&therefore&it&is&wise&to& reset&each&Picture&Profile&in&the&Picture&Profile&settings&before&using&it,& This&will&set&the&Profile&back&to&the&factory&settings&discussed&here. • If&you&are&more&familiar&with&the&Profiles,&and&gamma&and&gamut,&you& may&wish&to&adjust&them&to&suit&your&tastes.

Picture%Profiles • Picture&Profiles&determine&the&look&of&the&image:& they&are&presets&that&determine&image&contrast,& color&and&dynamic&range.&They&are&similar&to& Picture&Styles&in&a&Canon&DSLR&camera,&but&more& complex. • The&Picture&Profiles&may&be&OFF.&You&do¬&have& to&choose&one.& • There&are&nine&to&choose&from.& • There&is&a&button&on&the&camera&that&takes&you& directly&to&the&Picture&Profile&choices.

• The&following&images&(unless&otherwise¬ed)&are&taken&straight&from& the&camera.

Picture%Profiles%1%(PP1) • This&is&the&standard&look&of&the&camera. • This&is&fine&to&use&if&you&are¬&shooting&in&a&high&contrast&situation& or&you&don’t&want&details&in&the&highlights. • If&you&expose&correctly,&the&image&will&require&very&little&correction&in& post&production. • Expose&a&white&card&at&100&percent&IRE. • Expose&a&grey&card&at&50&or&45&percent.

shadows.&The&colors&are&more&saturated&than&PP01.&The&only&reason& to&use&PP01&would&be&to&mimic&the&look&of&certain&DSLR&cameras&that& have&about&3&stops&of&dynamic&range.& • However,&it&is&a&lot&easier&to&manipulate&a&more&dynamic&image&in& post&production&than&to&rely&on&an&in-camera&effect. • Avoid&this&profile.

Picture%Profiles%3%(PP3) • Like&PP1,&PP3&is&a&standard&HD&gamma&(REC.709)&preset&that,&when& properly&exposed,&will&require&very&little&correction&in&post& production. • The&image&will&have&slightly&less&contrast&than&PP01. • Expose&a&white&card&at&100&percent&IRE. • Expose&a&grey&card&at&50&or&45&percent.

Picture%Profiles%4%(PP4) • This&is&like&PP&03&but&the&colors&are&more&saturated. • I&recommend&PP3&and&PP4&as&good&default&profiles&to&use&if&you&are& using&the&camera&for&the&first&time&or&are&new&to&video&production. • Expose&a&white&card&at&100&percent&IRE. • Expose&a&grey&card&at&50&or&45&percent.

the&standard&gamma&profiles&of&PP3&and&PP4&but&require&very&little& correction&in&post&production&compared&to&SLOG&profiles. • The&colors&will&be&quite&a&bit&less&saturated&than&the&standard&gamma& images&but&there&can&be&much&more&detail&in&the&shadow&and&highlight& areas&of&the&image. • It&is&easier&to&judge&exposure&in&these&profiles&than&in&SLOG&profiles&where& the&image&looks&washed&out&in&the&viewfinder. • The&only&difference&between&PP5&and&PP6&is&that&PP6&will&prevent&the& highlights&from&going&beyond&100&IRE,&making&the&image&slightly&darker. • Expose&a&white&card&at&95&to&100&percent&IRE&(a&little&bit&underexposed). • Expose&a&grey&card&at&40&to&45&percent&IRE&(a&little&bit&underexposed).

Picture%Profiles%7,8%and%9%(PP7,%PP8,%PP9) • These&are&high&dynamic&range&profiles&that&use&SLOG&gamma.& • These&profiles&use&logarithmic&sampling&of&light&instead&of&linear&sampling. • SLOG&profiles&are&for&shooting&in&high&contrast&situations&(outside&on&a& bright&day&for&example). • The&image&will&look&low&contrast&(washed&out)&in&the&viewfinder&or&LCD& panel.&That&is&how&it&will&actually&appear.&Do¬&use&gamma&assist&on&the& LCD&panel&to&correct&it&or&you&risk&overexposing&your&image.& • Images&shot&with&SLOG&profiles&must&be&“normalized”&or&corrected&in&post& production. • Once&the&contrast&is&corrected,&the&color&saturation&appears&normal.

• PP8&and&PP9&use&SLOG&3& • SLOG&2&is&easier&to&look&at&in&the&LCD&monitor&(it&has&more&contrast). • SLOG&3&looks&very&washed&out&in&the&monitor&so&it&is&harder&to&judge& exposure. • You&have&more&flexibility&when&correcting&SLOG&3&in&post&production. • The&next§ion&provides&detailed&information&on&exposing&SLOG.

version&of&this:&SLog.

Exposure%Using%Linear%Sampling Linear&sampling&does¬&provide& enough&detail&to&reproduce&the& luminance&range&that&the&eye&can& perceive. So&it&discards&highlight&information. Any&video&camera&that&cannot&shoot&in high&dynamic&range,&discards&this& information. Diagrams&from:&Digital&Compositing&for&Film&and&Video,&Third&Edition:&Steve&Wright,&Focal&Press&2010.

Linear:%mathematically%consistent Log:%perceptually%consistent Diagrams&from:&Digital&Compositing&for&Film&and&Video,&Third&Edition:&Steve&Wright,&Focal&Press&2010. Log&sampling&varies&the&luminance&distance&between&samples.& There&are&greater&jumps&between&samples&in&the&highlight&areas& where&we&perceive&less&variation.

Exposure%Using%Log%Sampling Diagrams&from:&Digital&Compositing&for&Film&and&Video,&Third&Edition:&Steve&Wright,&Focal&Press&2010. Log&sampling&is&capable&of&reproducing& the&entire&perceived&range&of&luminance. High&dynamic&range&cameras&also&use&a& higher&bit&rate&codec.&In&this&chart&we&have 10&bit&sampling&(1024&variations). The&Sony&FS5&uses&10&bits&in&HD&only.

the&histogram&where&the&sampling&rate&is&more&sufficient&for&a&greater& amount&of&light.

when&“normalizing”&the&shot&(making&the&contrast&seem&correct&on&a& computer&display).

http://www.xdcam-user.com/2016/06/pxw-fs5-tutorial-videos/ The&website&of&Alister Chapman,& cinematographer,&has&two&videos& on&the&FS5&with&information&on& how&to&shoot&with&SLOG&picture& profiles.&I&recommend&this&site. The&following&recommendations& are&based&on&Mr.Chapman’s but& adjusted&with&my&own& experience.