Dynamic Range - Underexposed to avoid High ISO

[John31000]

Hello everyone

I had some questions after looking some informations about dynamic range, iso and so on ...

My camera (olympus em1 mark ii) got a function to see if some area are overexposed or underexposed.

If I'm in bad lighting condition like night outdoor and at 0EV and I doesn't see underexposed area. Can I underexposed to gain some ISO stop right ?

Like i'm at : f 1.7 , ISO 6400, 0EV , SS : 1/10 -> f1.7 , ISO 3200, -1EV, SS : 1/10

In post processing, I can then overexposed by one stop to get the same image as I would have taken if i was at 0EV without losing details if I CANT see "underexposed area" at -1EV ?

I guess the same can be applied for overexposed area ?

Also, if the camera has a very good dynamic range (like some high end FF model) I would guess I can underexposed more than with my olympus ?

Thanks

 

[Iliah Borg]

I advise you to stay away from TV studios; you would find their behavior intolerable. They worship at the altar of precision; vector scopes and waveform monitors are their old and new Testaments and they’re always fretting about legal black and white levels, skin tone lines, RGB parades....

But their worst sin: the sensors in their cameras are barely the size of a thumbnail and they like them that way (they like them so much they sometimes have three in each camera).

Unfortunately your make-believe method offers no benefit over what actual photographers would do which is to plan ahead and bring lights.

Excellent. Brilliant plot line for a TV show. Full of comedic possibilities.

 

[Michael Fryd]

I advise you to stay away from TV studios; you would find their behavior intolerable. They worship at the altar of precision; vector scopes and waveform monitors are their old and new Testaments and they’re always fretting about legal black and white levels, skin tone lines, RGB parades....

But their worst sin: the sensors in their cameras are barely the size of a thumbnail and they like them that way (they like them so much they sometimes have three in each camera).

Yes. If your goal is seamlessly switch between multiple cameras, it is very important to have consistency between cameras. In a live TV show, It is not unusual to have a dedicated person in the control room to monitor the various cameras, and tweak the colors so they all look alike.

Most still photographers don't have to worry that the a viewer will be rapidly switching back and forth between the results from multiple cameras.

Similarly, most still photographers don't need to worry about keeping levels within FCC mandated guidelines.

Many still photographers are a one man team. They don't need sophisticated tools to keep a common artistic vision (in terms of tone and color) amongst a team of cameramen.

The bottom line is that different tasks have different needs. The needs of a modern TV studio may not be the same as the needs of a typical still photographer.

...

 

[ThrillaMozilla]

...(something intelligent)

At this point it's just trolling. Don't feed the trolls.