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Please explain EI mode and how I should use it

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I’m sure this has been asked before even though I couldn’t find it anywhere and @The Editor is gonna to be upset with me but can anyone explain el mode and how to use it please?

I shoot primarily in cDNG but if there’s a difference for ProRes please let me know.

The only thing that would sorta make sense to me at this point is if in EI mode ISO is always recorded at 100 (or whatever the native iso is) so you can apply gain to the image in post with Camera RAW controls but gain is applied to the image in the live view so you can see what you are doing while filming. Maybe I have it completely and utterly wrong.

Why can I only use full manual camera controls in el mode?

Why is there a green line at 400 EI? Is it trying to say that 400 el is the native iso?

Why would you use EI mode instead of normal mode

Sorry I feel kinda dumb that I can’t figure this out and there seems to be nothing online I can find that explains it in a practical manner.

Thanks
 
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First you have to translate to English. Living in N.M. for many decades, I'm very wise in the ways of Spanish.

"El mode" in English is "The Mode." This should really help clear things up....<;^)

D
 
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I’m sure this has been asked before even though I couldn’t find it anywhere and @The Editor is gonna to be upset with me but can anyone explain el mode and how to use it please?

I shoot primarily in cDNG but if there’s a difference for ProRes please let me know.

The only thing that would sorta make sense to me at this point is if in el mode ISO is always recorded at 100 (or whatever the native iso is) so you can apply gain to the image in post with Camera RAW controls but gain is applied to the image in the live view so you can see what you are doing while filming. Maybe I have it completely and utterly wrong.

Why can I only use full manual camera controls in el mode?

Why is there a green line at 400 el? Is it trying to say that 400 el is the native iso?

Why would you use el mode instead of normal mode

Sorry I feel kinda dumb that I can’t figure this out and there seems to be nothing online I can find that explains it in a practical manner.

Thanks
As far as I understand, when you are shooting CineDNG, EL mode affects only your visualization and scopes.

But on the waveform, in EL mode you will see how much of space you will have at the top to prevent highlight clipping. So, you can "overexpose" your footage then bring it back in the post which will help to decrease noise.

I may be wrong, though.
 
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As far as I understand, when you are shooting CineDNG, EL mode affects only your visualization and scopes.

But on the waveform, in EL mode you will see how much of space you will have at the top to prevent highlight clipping. So, you can "overexpose" your footage then bring it back in the post which will help to decrease noise.

I may be wrong, though.
Thanks I’ll look into that. I really wish DJI would explain it so it’s not such a mystery
 
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First you have to translate to English. Living in N.M. for many decades, I'm very wise in the ways of Spanish.

"El mode" in English is "The Mode." This should really help clear things up....<;^)

D
It’s ei mode as in “exposure index” I’ve edited my original post to make this more clear. Originally I had eI which does make it look like Spanish work for “the.”
 

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I’m sure this has been asked before even though I couldn’t find it anywhere and @The Editor is gonna to be upset with me but can anyone explain el mode and how to use it please?

I shoot primarily in cDNG but if there’s a difference for ProRes please let me know.

The only thing that would sorta make sense to me at this point is if in EI mode ISO is always recorded at 100 (or whatever the native iso is) so you can apply gain to the image in post with Camera RAW controls but gain is applied to the image in the live view so you can see what you are doing while filming. Maybe I have it completely and utterly wrong.

Why can I only use full manual camera controls in el mode?

Why is there a green line at 400 EI? Is it trying to say that 400 el is the native iso?

Why would you use EI mode instead of normal mode

Sorry I feel kinda dumb that I can’t figure this out and there seems to be nothing online I can find that explains it in a practical manner.

Thanks
Post number 3 will explain it perfectly.

EI mode explained

You're welcone
 
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I’m sure this has been asked before even though I couldn’t find it anywhere and @The Editor is gonna to be upset with me but can anyone explain el mode and how to use it please?

I shoot primarily in cDNG but if there’s a difference for ProRes please let me know.

The only thing that would sorta make sense to me at this point is if in EI mode ISO is always recorded at 100 (or whatever the native iso is) so you can apply gain to the image in post with Camera RAW controls but gain is applied to the image in the live view so you can see what you are doing while filming. Maybe I have it completely and utterly wrong.

Why can I only use full manual camera controls in el mode?

Why is there a green line at 400 EI? Is it trying to say that 400 el is the native iso?

Why would you use EI mode instead of normal mode

Sorry I feel kinda dumb that I can’t figure this out and there seems to be nothing online I can find that explains it in a practical manner.

Thanks
It is DJI "Sensitivity Gamma / Gamut" setting
 
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It is DJI "Sensitivity Gamma / Gamut" setting
I am pretty slow so bear with me here please.

I totally understand that in el mode when recording D-log to the SSD you can monitor in Rec 709 even though you are recording D-log to the SSD. I get that it makes sense.

What I am now confused about is if el mode changes anything when it comes to cDNG?

I wouldn’t have thought so, raw is raw right? But there’s a snippet in the documentation for a linear_to_D_LOG LUT from DJI that seems to imply there is something different about cDNG shot in el mode vs normal mode 78D69C5E-F798-4DD3-8AEA-6808E5DA8228.jpeg
https://terra-1-g.djicdn.com/851d20f7b9f64838a34cd02351370894/zenmuse%20系列说明书-0604/DJI_Linear_to_D-Log_LUT_User_Instruction_DaVinci_EN.pdf
 
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I am pretty slow so bear with me here please.

I totally understand that in el mode when recording D-log to the SSD you can monitor in Rec 709 even though you are recording D-log to the SSD. I get that it makes sense.

What I am now confused about is if el mode changes anything when it comes to cDNG?

I wouldn’t have thought so, raw is raw right? But there’s a snippet in the documentation for a linear_to_D_LOG LUT from DJI that seems to imply there is something different about cDNG shot in el mode vs normal mode View attachment 29860
https://terra-1-g.djicdn.com/851d20f7b9f64838a34cd02351370894/zenmuse%20系列说明书-0604/DJI_Linear_to_D-Log_LUT_User_Instruction_DaVinci_EN.pdf
Linear color space is commonly used in vfx productions. Usually the rendered elements in vfx houses are output in linear, which simply mean they are stripped off any gamma curve. Because of that missing gamma a linear image looks very dark. This way the vfx workflow is more easy to match the synthetic output that computer produces to a certain media that was used to record the live footage for the show. And in that matter there are some very popular transforms like linear to alexa Log-C, linear to REDLog, as well some cannon and sony standards. So linear to D-Log is ment to be used in a vfx production to match the gamma of the computer rendered elements to the dji's gamma.
But because usually the drone footage is just a fraction of the whole footage that's shot for the show it's most reasonable the drone footage to be exported in a color space that the main cameras have for the show. As dji are not providing a way their raw files to be read directly as D-Log in the editing softwares it's most common to use Rec709 to Linear on them and then to apply a second transform to match the dji footage to the main cameras gamma, if shot with RED it could be Linear to REDLog and etc.
Shooting in RAW DNG doesnt matter what color gamma profile you'll set as this is interchangeable later in the recorded RAW settings but the ISO is baked in the RAW and cannot be changed any more like RED RAW files can do.
So the exposure is baked in to 10bit per channel which gives the ability to readjust a few f-stops in post when your delivery is ending at 8bit sdr Rec709, but there is no baked gamma curve in the raw, this is in short what DNG RAW files are.
If you are shooting MOV or MP4 on the SD card then the gamma setting matters and is actually very important to be set to D-Log as this gamma becomes baked in to the MOV file and later one can more preciselly adjust the convertion to Rec709 and preserve some detail in the highlight and the shadows. But because those files are 8 or 10 bit, baking the gamma in them makes them useful only in one way - from flat to rec709, the other way or applying multiple gamma transforms will lead to loss of information and color degradation. Thats the idea of not baking the gamma in to the 10bit footage.
 
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Linear color space is commonly used in vfx productions. Usually the rendered elements in vfx houses are output in linear, which simply mean they are stripped off any gamma curve. Because of that missing gamma a linear image looks very dark. This way the vfx workflow is more easy to match the synthetic output that computer produces to a certain media that was used to record the live footage for the show. And in that matter there are some very popular transforms like linear to alexa Log-C, linear to REDLog, as well some cannon and sony standards. So linear to D-Log is ment to be used in a vfx production to match the gamma of the computer rendered elements to the dji's gamma.
But because usually the drone footage is just a fraction of the whole footage that's shot for the show it's most reasonable the drone footage to be exported in a color space that the main cameras have for the show. As dji are not providing a way their raw files to be read directly as D-Log in the editing softwares it's most common to use Rec709 to Linear on them and then to apply a second transform to match the dji footage to the main cameras gamma, if shot with RED it could be Linear to REDLog and etc.
Shooting in RAW DNG doesnt matter what color gamma profile you'll set as this is interchangeable later in the recorded RAW settings but the ISO is baked in the RAW and cannot be changed any more like RED RAW files can do.
So the exposure is baked in to 10bit per channel which gives the ability to readjust a few f-stops in post when your delivery is ending at 8bit sdr Rec709, but there is no baked gamma curve in the raw, this is in short what DNG RAW files are.
If you are shooting MOV or MP4 on the SD card then the gamma setting matters and is actually very important to be set to D-Log as this gamma becomes baked in to the MOV file and later one can more preciselly adjust the convertion to Rec709 and preserve some detail in the highlight and the shadows. But because those files are 8 or 10 bit, baking the gamma in them makes them useful only in one way - from flat to rec709, the other way or applying multiple gamma transforms will lead to loss of information and color degradation. Thats the idea of not baking the gamma in to the 10bit footage.
Thanks. That does makes sense for the question of what the purpose of the linear to D-Log LUT does and I understand that what I still don't understand is what El mode does differently to cDNG than normal mode.

BTW ISO isn't baked into the other RAW formats that I have used. Red RAW, BRAW, Canon Raw, etc. allow you to choose the ISO in post. Screen Shot 2020-10-30 at 1.57.00 PM.png
From what I tell iso IS baked into DJI's cDNG though. The same footage shot at difference ISO all else the same looks very different.

That is kinda the original main purpose of trying to figure out this EI mode thing. I was thinking maybe in EI mode ISO wasn't baked in like other RAW formats. That doesn't appear to be the case unless it is actually tone curve in the original meta data that is baked in not iso.
 
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Which is returning us to my original explanations.

Check waveform graphs for the same scene in normal mode and EI mode. In RI mode, the waveform is much more optimistic regarding your ability to overexpose. The actual RAW would be in core the same for the same expo pair but seems like EI give you more info about overexposing limits without losing details in the highlights.
 
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Which is returning us to my original explanations.

Check waveform graphs for the same scene in normal mode and EI mode. In RI mode, the waveform is much more optimistic regarding your ability to overexpose. The actual RAW would be in core the same for the same expo pair but seems like EI give you more info about overexposing limits without losing details in the highlights.
Yea you were right, I did some tests today and there was no difference between the cDNG in EI vs non EI mode. Also like you said the waveform has way more latitude in the highlights than when EI mode is off.

What I am thinking is that the waveform in EI mode is specifically tuned to help expose D Log. Generally you would want to expose log to the right so the waveform in EI more makes this compensation for you. Shooting cDNG in EI mode using the waveform monitor seems to produce less than ideal results. I was not able to recover all the highlights it says I should be able to get.

Thanks for bearing with me guys I know I’m a bit slow.
 
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