α6700 Field Card — Video for the Still Shooter

180°SHUTTER RULE

Shutter = 2× frame rate. Set it once per frame rate, then leave it. That blur is the film look — in video the shutter controls motion, not brightness. Exposure gets solved below.

Nearest Sony steps shown. Faster shutter reads staccato and crunchy; slower reads dreamy. Deviate on purpose only.

24 FPS

1/50

25 FPS

1/50

30 FPS

1/60

50 FPS

1/100

60 FPS

1/125

120 FPS

1/250

Exposure, in order

Exposure/Color

Shutter — already locked by fps, above.It is no longer an exposure lever.
Aperture — sets the look, not the level.Depth of field first; brightness is a side effect.
ISO — snap to a base, don't creep.Between bases, fix it with ND or aperture instead.
ND — your new exposure dial.Variable ND on the lens; trim to the meter, ride it as light shifts.

Never ride shutter for brightness

800

Low base · S-Log3

2500

High base · S-Log3

One exposure, no brackets. Protect highlights — log lifts shadows far better than it recovers clips.

Profile pick & log targets

Exposure/Color

S-Cinetone (PP11) — deliver-tonight look, gentle grade, forgiving skin. FAST TURNAROUND
S-Log3 (Log Shooting → Flexible ISO) — max latitude for the grade. LUT view / Gamma Display Assist ON so you judge a picture, not gray soup. GRADED WORK

SKIN

41 · GRAY 61 · WHITE 94 · CLIP

Expose log fat: +1.3 to +2 EV via ND/aperture, zebra 94%+ as the hard ceiling. Pull down in the grade — never let zebras crawl on anything you care about.

Formats & cards

Shooting

Mode	GOP	Color	Max	Card
XAVC HS 4K	Long	10-bit 422	280 Mb/s	V60
XAVC S 4K	Long	≤10-bit 422	280 Mb/s	V60
XAVC S-I 4K	All-I	10-bit 422	600 Mb/s	V90

Travel default: XAVC HS 4K · 10-bit 4:2:2 · 24p. Go All-I when the edit will punch, warp, or grade hard.
4K ≤60p is full-width, oversampled from 6K. 4K 100/120p crops 1.58× — plan your wides.
S&Q always wants V90 — slow-motion writes 500–600 Mb/s regardless of codec.
Proxies ON (Px) — edit-ready proxies for the M4 Pro timeline. Not available at 100/120p or in All-I.

AF & monitoring

Focus

Subject Recognition ON. Human as default; flip to Animal/Bird on wildlife days — put it on a custom key.
AF Transition Speed 1–3 for cinematic pulls; Shift Sensitivity: Locked-on so busy frames don't steal focus.
Focus Map = live depth-of-field read. Peaking Mid for manual glass.
Zebras + level display always on. The EVF lies about exposure; instruments don't.
SUGGESTED KEYS — C1 ZEBRA · C2 FOCUS MAP · C3 SUBJECT SEL · C4 STEADYSHOT

Stabilization

Shooting

Situation	SteadyShot
Tripod / locked off	OFF
Handheld, static frame	Standard
Handheld, walking	Active (small crop)
Gimbal	OFF
Gyro stab in post (Catalyst)	OFF

One system stabilizes. Stacking IBIS on a gimbal or gyro pass fights itself — pick the layer, commit.

Audio

Audio CH1/2

−18 AVG −12 PEAK HOT

Peaks ≈ −12 dB, average ≈ −18. Headphones on the first take, spot-check after.
Deadcat outdoors, always. Wind ruins more clips than focus does.
S&Q records no audio. Need sound with slow-mo? Shoot 120p in movie mode, conform in post.
MI-shoe mic = digital in, no cable, no gain-stage fuss. Deliver at −14 LUFS in post.

Still shooter → filmmaker

Field

One exposure. No brackets, no do-overs. Protect highlights and move on.
Hold ten. Count it. Static shots feel long behind the camera and short in the edit.
Shoot handles. Roll 3 s before the action and 3 s after. Cuts need meat.
Sequences, not singles. Wide → medium → tight → detail. Four shots make a scene.
Move on purpose. A slow motivated push beats a wander. Otherwise lock it off.
Lock white balance. Kelvin presets. AWB drift mid-shot is baked in forever.
Level is law. Motion amplifies tilt — keep the level display on and trust it.
Audio is half the film. A plain frame with great sound survives; the reverse doesn't.
Shoot for the edit. If you can't name the cut a shot serves, skip the shot.
Light is still king. Video clips highlights faster than your RAWs ever did — keep the golden-hour discipline.

Field gotchas

Setup

4K120 crop math: ×1.5 × 1.58 ≈ ×2.37 — an E 16 mm frames like ~38 mm. Bring the wide.
Single card slot. No in-camera backup — offload and verify every night, no exceptions.
Auto Power OFF Temp → High. It runs warm long before it quits.
Cold halves batteries. Spares in an inside pocket; rotate warm. Two per shoot day, minimum.
USB-C PD runs the camera. Power bank in the bag for interviews and timelapse.

Pre-roll — six seconds, every time

Field

FPS
Shutter = 2×FPS
Base ISO
ND set
WB in Kelvin
Meters moving
Level
REC

Same order, every take — out loud if no one's around. Ninety percent of ruined clips die in these six seconds.