Summary Guide V1

FX6 Cine EI
Muted-Color Shooting System

Summary Guide V1

A field-use extraction from the canonized FX6 Master TOC and Handbook V1.0

Control Item	Status
Source project	FX6 Final Audio Settings + Cine EI Muted-Color Shooting System
Source document	Canonized Master TOC and Handbook V1.0; current Working Baseline used only as extraction source
Scope	Camera operation, Cine EI exposure, LUT/MLUT monitoring, muted-color method, lighting, shoot-day workflow, and post/file discipline
Audio policy	All operational audio setup is deferred to the external FX6 Audio Field Setup Guide. Audio in the Handbook is treated as background/reference only.
Ignored source pages	Pages 381 through 384 are intentionally ignored for this extraction and future summary work.
Purpose	Give fast operating access to the Handbook without replacing the full Handbook.

Use rule

This guide tells you what to do first. The full Handbook explains why, provides detail, and remains the deep reference source. Do not treat this guide as a replacement for the canonized Handbook.

Manual Table of Contents

Section	Title
1	How to use this Summary Guide
2	Master operating doctrine
3	Cine EI camera baseline
4	Indoor Cine EI setup card
5	Outdoor Cine EI setup card
6	Exposure monitoring and EI decisions
7	LUT / MLUT / monitor / settings-card rules
8	Muted-color visual method
9	Lighting, lens, movement, and production design
10	Scenario recipes
11	Pre-shoot and first-60-seconds workflow
12	File management, offload, import, proxy, and archive
13	Quick cards
14	Handbook source map and future guide system

Navigation note

This Summary Guide uses Handbook page references rather than live hyperlinks. For linked navigation, use the final PDF distribution/navigation master or the Master Handbook navigation overlay.

1. How to Use This Summary Guide

This guide is designed for fast comprehension and field use. It condenses the camera, Cine EI, muted-color, lighting, monitoring, and workflow material into a smaller operator guide. It deliberately does not reproduce detailed audio setup instructions.

Three-layer operating method:

Layer	Use it when...	Primary document
Summary Guide	You need the operating rule, setup sequence, or fast decision table.	This document
Full Handbook	You need the reason, expanded procedure, warnings, or full background.	Canonized Master TOC and Handbook V1.0
Audio Guide	You need to wire, route, test, troubleshoot, or operate audio.	External FX6 Audio Field Setup Guide

1.1 Audio Authority Rule

Audio rule

For all audio setup and operation, refer to the external FX6 Audio Field Setup Guide. In this Summary Guide, audio is mentioned only as a verification checkpoint: confirm that audio is handled by the external guide before recording.

1.2 Handbook Pages Ignored

Pages 381 through 384 of the working source are outside the active 380-page Handbook working scope and are ignored in this extraction. They were not used to create the operational content below.

1.3 What This Guide Is Not

It is not a replacement for the full Handbook.
It is not the PDF rebuild recipe.
It is not the audio field setup guide.
It does not change the canonized Handbook or Working Baseline.

2. Master Operating Doctrine

The muted-color system is not created by simply making the camera image dark. The operator records a clean S-Gamut3.Cine/S-Log3 file, monitors it accurately, shapes the scene with lighting and production design, and then grades with restraint.

Rule	Practical meaning
Expose cleanly	Do not starve S-Log3. Keep skin, eyes, and important shadows usable.
Light selectively	Shape the subject with key light, negative fill, background control, and practical motivation.
Monitor accurately	Use LUTs for viewing, but judge truth with waveform, zebras, meters, and playback review.
Grade carefully	Preserve natural skin and avoid heavy-handed stylization.

2.1 Control Hierarchy

Operate the FX6 by control function. Each control has a job. Problems begin when one control is used to do another control's job.

Priority	Control	Main job	Do not use it to...
1	Shutter	Motion rendering	Fix normal brightness problems
2	Aperture	Depth of field and lens character	Constantly chase exposure while losing focus consistency
3	ND	Exposure control after shutter/aperture choice	Hide a poorly chosen shutter/aperture strategy
4	White balance	Color consistency	Fake the muted look
5	EI	Exposure-rating / monitoring decision	Make the monitor dark for mood without exposure discipline
6	LUT / MLUT	Viewing reference	Fix bad lighting or bake a look accidentally
7	Lighting / production design	Actual image style	Be skipped and replaced by underexposure
8	Audio	Dialogue credibility	Be improvised without the Audio Field Setup Guide
9	Media / logging	Post-production survival	Be left to camera filenames alone

2.2 Non-Negotiable Warnings

Do not underexpose S-Log3 to create mood.
Do not assume S-Gamut3.Cine/S-Log3 automatically means the monitor has a LUT.
Do not double-LUT the image.
Do not bake Internal Rec MLUT unless that is a deliberate creative/technical decision.
Do not raise shutter just because exterior light is bright; use ND.
Do not rely on camera filenames alone for post-production identity.
Do not use this Summary Guide for audio wiring or routing; use the Audio Field Setup Guide.

Handbook reference: Project purpose, core operating rule, master control hierarchy, and non-negotiable warnings: Chapter 1 to Chapter 2, pp. 2-18.

3. Cine EI Camera Baseline

Use this section as the camera starting point before adjusting for the actual scene. The field objective is to preserve clean log image information while giving the operator a useful monitoring image.

Area	Baseline / decision	Field rule
Shooting mode	Cine EI	Use deliberately; confirm after loading ALL File.
Color/gamma	S-Gamut3.Cine / S-Log3	Record log for grading latitude.
Frame rate	23.98/24p unless project requires otherwise	Keep project consistent unless there is a plan.
Shutter	1/48 or 180 degrees for 24p	Shutter controls motion, not ordinary exposure.
Base ISO	800 or 12800	Choose based on lighting reality, not monitor mood.
EI	Deliberate exposure-rating/monitoring decision	Lower EI can help cleaner shadows; higher EI can protect highlights; monitor both.
Recording	4K UHD/QFHD; XAVC-I for quality or XAVC-L for duration by plan	Format and codec must match the post workflow.
Internal Rec MLUT	Off unless intentionally baking	Default: record clean S-Log3.
Monitor MLUT	VF/Proxy/Stream and SDI/HDMI On if useful	Default phrase: recording log, monitoring LUT.
Audio	Verified using external Audio Field Setup Guide	Do not build audio from this Summary Guide.

3.1 Control Order on Set

1. Confirm Cine EI and S-Gamut3.Cine/S-Log3.

2. Choose frame rate and set normal shutter.

3. Choose aperture for emotion, depth, and focus reliability.

4. Choose Base ISO based on actual available/control light.

5. Use ND to place exposure after shutter and aperture are correct.

6. Set/lock white balance under the actual key light.

7. Set monitoring LUT, then verify Internal Rec MLUT status.

8. Check exposure with waveform and zebras, not only the LCD.

9. Check focus with magnifier/peaking and near-eye rule.

10. Confirm audio using the external Audio Field Setup Guide.

11. Record and play back a 10-second technical test before serious recording.

4. Indoor Cine EI Setup Card

Indoor work begins by eliminating accidental problems: ND accidentally On, shutter not normal, white balance not locked, or exposure being judged only by screen appearance.

Indoor condition	Recommended Base ISO
Lit actor reel	800
Lit feature dialogue	800
Controlled interview with key light	800
Window daylight interior	800
Dim documentary room	12800 may be needed
Night practical-only scene	12800 may be needed
Scene too dark but light can be added	Add light and use/consider 800
Scene too dark and light cannot be added	12800

Control	Indoor field setting / rule
ND	Start Clear. Add ND indoors only if windows/lights overpower the scene or the desired aperture must be preserved.
Shutter	24p = 1/48 or 180 degrees. Do not change shutter to fix normal brightness.
Aperture	Solo/close-up f/2.8-f/4; interview around f/4; two-person/movement f/4-f/5.6; wider/action f/5.6 if focus reliability matters.
White balance	Set A/B/Preset deliberately. Avoid ATW for controlled actor/feature work. White balance for the face under actual key light.
LUT	Monitor LUT On if useful. Internal Rec LUT Off. Record clean S-Log3.
Focus	Use Focus Magnifier; focus near eye; check two-person depth; recheck after zoom/reframe.
Audio	Use external FX6 Audio Field Setup Guide; this guide only reminds you to verify it.

4.1 Indoor Pre-Roll Callout

Cine EI confirmed.
Base ISO chosen deliberately.
Shutter at normal motion value.
Aperture chosen for emotion and focus.
ND Clear unless the scene is actually too bright.
White balance locked.
Monitor LUT On; Internal Rec MLUT Off.
Focus checked on near eye or required plane.
Audio routed/tested per external Audio Field Setup Guide.
Room noise and background distractions addressed.
10-second test clip recorded and reviewed.

Handbook reference: Indoor decisions draw from Chapters 10-16 and Appendix D, especially pp. 68-127 and pp. 349-352.

5. Outdoor Cine EI Setup Card

Outdoor daylight usually has too much light, not too little. The correct exposure tool is Variable ND, not high Base ISO and not a raised shutter.

Outdoor condition	Recommended Base ISO
Bright daylight	800
Open shade	800
Overcast day	800
Golden hour	800 unless too dim
Exterior dialogue / actor close-up / documentary interview	800
Night exterior	12800 may be needed
Dark available-light documentary	12800 may be needed

Control	Outdoor field setting / rule
Base ISO	Daylight exterior = Base ISO 800 + Variable ND. Use 12800 only for genuine low-light exterior conditions.
Shutter	24p = 1/48 or 180 degrees. Do not raise shutter because sun is bright.
Aperture	Emotional close-up f/2.8-f/4 if focus allows; interview/dialogue/walk f/4-f/5.6; action/wide f/5.6-f/8 if focus is difficult.
Variable ND	Set Base ISO and shutter first, choose aperture, turn Variable ND On, then adjust using waveform/zebras.
Auto ND	Use only when documentary movement through changing light makes manual ND impractical.
White balance	Set deliberately for daylight/shade/mixed environment. Avoid drifting white balance during matching coverage.
Exposure tools	Use waveform for truth, zebras for warnings, and playback review before important takes.
Audio	Outdoor wind/audio setup belongs in the external FX6 Audio Field Setup Guide.

5.1 Outdoor Pre-Roll Callout

Base ISO 800 unless it is truly low-light exterior.
Shutter at normal motion value.
Aperture chosen for look and focus.
Variable ND On and adjusted by waveform/zebras.
Face exposure checked before sky or background preference.
Highlights protected without sacrificing subject face.
Focus checked after lens or framing changes.
Audio wind/noise plan verified in the external Audio Field Setup Guide.
10-second test clip recorded and reviewed.

Handbook reference: Outdoor Base ISO and Appendix E, especially pp. 125-127 and pp. 352-356.

6. Exposure Monitoring and EI Decisions

Cine EI requires disciplined monitoring because the LUT can make the image look normal even while exposure decisions are wrong. The waveform is the primary exposure truth; zebras are fast warnings.

Tool	Use	Field warning
LCD/monitor image	Composition and approximate preview	Not enough for exposure truth.
Monitoring LUT	Normal-looking preview	Useful viewing print, not the digital negative.
Waveform	Primary exposure truth	Use for faces, gray/white reference, and highlight control.
Zebras	Fast warning levels	Do not ignore highlight clipping or skin problems.
Histogram	Secondary tool	Less specific than waveform for subject exposure.
Playback review	Confirms recorded result	Never skip before important shooting.

6.1 S-Log3 Reference Anchors

Reference	Approximate S-Log3 target
18% gray	Around 41 IRE
90% white	Around 61 IRE
Skin	Keep clean and usable; do not sacrifice face for mood
Highlights	Protect important highlights without starving the subject

6.2 EI Decision Logic

EI choice	Can help with...	Risk
Lower EI	Cleaner shadows; stronger exposure in darker parts; better skin/eyes in close-ups	Can reduce highlight headroom if pushed too far.
Higher EI	Highlight-heavy scenes; bright exterior contrast; practical lamps	Can thin shadows and underexpose the subject face.
Default warning	EI should be deliberate.	Do not use EI just to make the monitor look moodier.

6.3 Low-Light Decision Path

Scene looks too dark.
Confirm ND is not accidentally On.
Confirm shutter is correct.
Open aperture only as far as focus/story allow.
Add, redirect, or shape light if possible.
Use Base ISO 12800 only when the scene truly needs low-light capability.
Use waveform to confirm clean exposure.
Do not let actor eyes/skin disappear unless the story absolutely requires it and the image remains technically usable.

Handbook reference: Cine EI Exposure Monitoring and Cine EI/Base ISO/EI workflow, pp. 112-127.

7. LUT / MLUT / Monitor / Settings-Card Rules

The monitoring system separates three things: camera color/gamma, SDI/HDMI MLUT, and Internal Rec MLUT. Confusing those creates either a flat monitor problem or a baked/double-LUT problem.

Function	Recommended setting	Reason
Internal recording	S-Gamut3.Cine/S-Log3	Preserve clean log negative for grading.
Internal Rec MLUT	Off by default	Avoid accidentally baking the viewing LUT.
VF/Proxy/Stream MLUT	On if useful	Provides normal-looking camera/viewfinder preview.
SDI/HDMI MLUT	On for external monitor if desired	Sends normal-looking preview to monitor.
External monitor LUT	Off if FX6 sends MLUT	Avoid double-LUT.
Monitor look	s709 as safe primary choice	Restrained and useful for judging log footage.

7.1 Settings Card Discipline

Item	Rule
Settings card label	FX6 SETTINGS - DO NOT FORMAT
ALL File	Save camera setup to Media(B) and load/confirm at start of shoot.
User File	Preserve operator/user menu setup if used.
Scene File / LUTs	Preserve look support and import only a small, trusted LUT set.
Computer/NAS/USB duplicate	Make duplicate backups of settings and LUT files.
Physical switches	Still verify manually; FX6 files do not save everything external/physical.
Rode/audio/external monitor	Not fully saved by FX6; verify through the correct external guides/checklists.

7.2 Double-LUT Stop Test

Is the FX6 sending SDI/HDMI MLUT?
Is the external monitor also applying its own LUT?
Is Internal Rec MLUT Off unless deliberately baking?
Does a playback/test file confirm that the recorded file is clean S-Log3 when expected?

Handbook reference: LUT/MLUT monitoring, external monitoring, LUT acquisition, and settings-card chapters, pp. 142-170.

8. Muted-Color Visual Method

The muted-color look is a disciplined production method. It is not a dark exposure trick. The face remains alive while the world around it is restrained.

Correct method	Wrong method
Expose the face cleanly.	Lower exposure until the screen looks dark.
Let the shadow side fall with control.	Record noisy/muddy S-Log3.
Use negative fill and background control.	Expect a LUT to create lighting.
Control wardrobe, props, practicals, and palette.	Let bright saturated objects dominate the frame.
Grade restrained after preserving the negative.	Try to rescue underexposed footage in post.

8.1 Visual Rules to Keep

Do not underexpose for mood.
Use Cine EI like a digital negative workflow.
Record clean log and monitor with LUT.
Use s709 as a safe monitor look unless a tested alternative is intentionally selected.
Lock white balance and do not use white balance as the muted-look tool.
Let ND protect the chosen aperture.
Keep shutter boring and correct unless there is a deliberate reason.
Use waveform and zebras.
Protect skin and eyes.
Control wardrobe, background, and practical-light color.
Do not over-grade.

8.2 Visual Priority by Production Type

Production type	Priority	Summary rule
Actor reel	Performance clarity	The camera style must support the actor. Face and eyes must be readable.
Feature scene	Visual grammar	Shots must match, cut together, and share motivated light direction.
Documentary	Credibility and intelligibility	Truthful faces, clean backgrounds, and fast controlled setups matter more than forced stylization.

Handbook reference: Pro Tips for Netflix-Type Muted Color and related visual method, pp. 171-188.

9. Lighting, Lens, Movement, and Production Design

The muted look is created by scene control. The camera records the negative; lighting, lens choice, movement, wardrobe, set color, and background decide whether the image feels cinematic.

9.1 Lighting Strategy

Use case	Lighting emphasis	Field reminder
Actor reel close-up	Readable face, eye detail, controlled background	Performance beats style.
Two-person dialogue	Coverage consistency, sufficient depth, matching contrast	Both actors must cut together.
Feature interior	Motivated source, contrast, palette continuity	Light direction must make story sense.
Documentary interview	Clean face, fast setup, background control	Credibility first.
Exterior dialogue	Shade/sun strategy, controlled highlights, face readability	Choose shade before fighting sun when possible.

9.2 Lens and Movement Rules

Pick focal length for emotion, face shape, background compression, and scene control.
Use longer lenses when simplifying chaotic backgrounds helps the look.
Push-ins usually feel more cinematic than zoom-ins, but zooming can be used deliberately.
Recheck focus after zoom/reframe.
Use tripod, slider, dolly, gimbal, or handheld based on story and focus reliability.
Rehearse movement if focus or framing can fail.

9.3 Production Design / Color Control

Area	Muted-color approach
Wardrobe	Prefer restrained tones and avoid uncontrolled bright/saturated colors unless intentional.
Background	Reduce clutter, control brightness, and support face separation.
Props	Keep only story-relevant objects; remove distracting color.
Practical lights	Use as motivated sources, not uncontrolled color contamination.
Skin	Keep natural; mute the environment, not the person.

Handbook reference: Actor reel, feature, documentary lighting; lens/movement; production design/color control: pp. 189-240.

10. Scenario Recipes

Use these as fast starting maps. Each recipe tells you which parts of the Summary Guide to use, then which full Handbook areas to consult for detail.

Scenario	Summary action	Deep reference
One-person actor reel, indoor	Indoor Cine EI card; muted-color rules; actor-reel lighting; focus near eye; record/review test.	Handbook pp. 68-127, 171-198, 241-258, 349-352. Audio: external guide.
Two-person dialogue/interview	Indoor or outdoor card; two-person aperture/depth; matching coverage; documentary or feature lighting depending style.	Handbook pp. 86-99, 192-208, 208-223, 241-258. Audio: external guide.
Exterior muted-cinematic dialogue	Outdoor card; Base ISO 800; Variable ND; face/highlight balance; exterior lighting strategy.	Handbook pp. 82-86, 112-127, 196-206, 352-356. Audio: external guide.
Documentary sit-down	Clean face; quick background control; truthful lighting; pre-shoot and 10-second test; field logging.	Handbook pp. 208-223, 241-258, 273-289, 362-364. Audio: external guide.
Documentary run-and-gun	Use practical quick card: Auto ND only when necessary, protect face, verify WB/exposure/focus repeatedly.	Handbook pp. 214-220, 241-258, 284-296. Audio: external guide.
Offload / import / proxy / archive	Full-card copy; no flat MXF dump; verify before format; use proxies if needed; preserve originals.	Handbook pp. 259-339, Appendices I-K. Audio originals: external guide plus post workflow.

10.1 Universal Scenario Stop Conditions

Audio not verified through the external guide.
Focus not checked on the critical subject/near eye.
Waveform/zebras not checked.
Internal Rec MLUT status not verified.
White balance is drifting or uncertain.
Card/reel identity not logged.
No 10-second test playback before important work.

11. Pre-Shoot and First-60-Seconds Workflow

This section compresses the Handbook shoot-day workflow into an operational sequence. The rule is simple: if audio, focus, exposure, LUT, or media identity is not verified, do not proceed as if the setup is safe.

11.1 Night-Before Checklist

Category	Check
Camera/media	Batteries charged; cards backed up before formatting; settings card labeled; ALL/User/Scene files and LUTs ready; card reader and backup drives available.
Camera support/exposure	Tripod/plate, lenses, gray/white card, monitor/cables, ND workflow, and reference tools packed/tested.
Lighting	Key light, stand, diffusion/softbox, negative fill, extension cords, practicals/dimmers, weights/sandbags.
Paperwork/logging	Clip log or digital log ready; paper field log; marker/pen; slate; project code; physical card IDs; reel naming plan.
Audio	Use the external Audio Field Setup Guide for complete audio prep and verification.

11.2 First 60 Seconds on Set

1. Load or confirm ALL File.

2. Confirm physical switches and external attachments.

3. Confirm frame rate and recording format.

4. Set Cine EI / Base ISO / EI deliberately.

5. Set white balance.

6. Set shutter.

7. Set aperture.

8. Set ND.

9. Set LUT monitoring and confirm Internal Rec MLUT status.

10. Set waveform/zebras.

11. Confirm focus.

12. Confirm audio through the external FX6 Audio Field Setup Guide.

13. Slate clip.

14. Record a test.

15. Review playback.

16. Record take.

17. Log clip.

18. Back up media after shoot.

11.3 10-Second Technical Test

Test item	What to confirm
Picture	Framing, exposure, LUT/MLUT expectation, skin, highlights, and background.
Focus	Near-eye or required plane sharp; movement focus acceptable.
Audio	Verified by external Audio Field Setup Guide; listen and inspect channels as directed there.
Media/logging	Card/reel/clip identity correct; log entry started.
Playback	Recorded file matches expectation, not only live monitor view.

Handbook reference: Pre-shoot checklist and master shoot-day workflow, pp. 241-258.

12. File Management, Offload, Import, Proxy, and Archive

The Handbook treats media discipline as part of the shooting system because poorly named, flattened, or partially copied media can destroy an otherwise successful shoot.

12.1 File Identity Rules

Rule	Reason
Do not rely on camera filenames alone.	Same-name clips can happen across cards or shoots.
Use project code, reel ID, physical card ID, and unique clip ID.	The folder and log provide identity beyond the camera filename.
Never dump different cards into one flat folder.	Flat folders destroy reel/card context and increase relink confusion.
Do not casually rename camera originals.	Renaming can interfere with metadata and post workflows.
Keep production card and settings card separate.	Avoid formatting or confusing the FX6 SETTINGS card.

12.2 Offload Rules

1. Prepare a dated/project/reel destination folder.

2. Confirm physical card and reel ID.

3. Copy the full card contents, not just MXF files.

4. Do not change the original card structure.

5. Record copy status in the log.

6. Verify copy before formatting.

7. Maintain at least two backups before erasing media.

12.3 Post Import / Proxy / Archive Rules

Post area	Rule
Resolve/Premiere import	Import full reel folders and preserve bin structure by project/reel/card.
Audio inspection	Follow post audio inspection from the external audio guide and Handbook post workflow.
Proxies	Shoot high-quality originals; edit with proxies when needed.
Storage target	80-160GB reel/offload targets are easier to manage than one huge uncontrolled dump.
Archive	Preserve originals, audio originals, project files, proxies if needed, exports, and final archive notes.

Handbook reference: File management, slates/logging, offload, Resolve/Premiere, proxies, storage, and templates: pp. 259-339; quick references pp. 364-372.

13. Quick Cards

13.1 One-Page Cockpit Card

Before recording, confirm...	Target / field rule
Mode	Cine EI
Color/gamma	S-Gamut3.Cine/S-Log3
Frame rate/shutter	24p -> 1/48 or 180 degrees; do not use shutter as brightness control.
Base ISO	800 for controlled/normal light; 12800 only when genuinely needed.
Aperture	Choose for story, depth, face, and focus reliability.
ND	Indoor: Clear unless too bright. Outdoor: Variable ND controls daylight exposure.
White balance	Manual/locked under actual key light; avoid ATW for controlled work.
LUT	Monitor LUT On if useful; Internal Rec MLUT Off unless intentionally baking.
Exposure tools	Waveform first, zebras for warnings, playback review before serious take.
Focus	Near eye sharp; two-person depth if both subjects matter.
Audio	Use FX6 Audio Field Setup Guide; do not improvise from this card.
Media/logging	Card/reel/clip identity logged; full-card offload later.
Test	Record/review 10-second technical test.

13.2 Indoor Card

Start ND Clear.
Set normal shutter.
Choose aperture for subject and focus.
Use Base ISO 800 if light can be controlled; 12800 only if genuinely needed.
Set manual/locked WB under actual key light.
Monitor LUT On; Internal Rec MLUT Off.
Expose face cleanly; use negative fill/background control for mood.
Check near-eye focus and two-person depth.
Audio per external guide; room noise controlled.
Record/review test.

13.3 Outdoor Card

Use Base ISO 800 for daylight.
Do not raise shutter because the sun is bright.
Choose aperture for look/focus first.
Use Variable ND to place exposure.
Use waveform/zebras to check face and highlights.
Choose shade or control sun before fighting bad light.
Set/lock WB for the actual exterior situation.
Audio wind/noise plan per external guide.
Record/review test.

13.4 Emergency Troubleshooting Card

Problem	First move
Image looks flat	Check LUT/MLUT monitoring. Confirm whether FX6 is sending a LUT to the display.
Image looks baked/overcooked	Check double-LUT and Internal Rec MLUT status.
Image too dark/muddy	Do not simply raise/lower monitor brightness. Check waveform, Base ISO, ND, aperture, and lighting.
Skin/eyes disappear	Expose the face cleanly; add/shape light; do not underexpose for mood.
Exterior too bright	Use ND after correct shutter/aperture; do not raise shutter casually.
White balance shifts	Avoid ATW; lock WB under actual key light.
Audio issue	Stop and use the external FX6 Audio Field Setup Guide.
Same filenames / media confusion	Use reel/card/project ID; do not flatten card contents.

14. Handbook Source Map and Future Guide System

The Summary Guide should be treated as the first layer in a larger access system. The full Handbook remains the master source; the future smaller guides should be extracted from the Working Baseline and should not alter the canonized document.

14.1 Source Map

Topic	Handbook source area
Project purpose / doctrine	Chapters 1-2, pp. 2-18
Audio background only	Chapters 3-9 and Appendices A-C; operational use deferred to external Audio Field Setup Guide
Camera controls	Chapters 10-18, pp. 68-141
LUT / monitor / settings card	Chapters 19-22, pp. 142-170
Muted-color visual method	Chapter 23, pp. 171-188
Actor reel lighting	Chapter 24 and Appendix F
Feature scene lighting	Chapter 25 and Appendix G
Documentary lighting	Chapter 26 and Appendix H
Lens/movement/production design	Chapters 27-28, pp. 224-240
Pre-shoot / shoot-day workflow	Chapters 29-30, pp. 241-258
File/post workflow	Chapters 31-40, pp. 259-339 and Appendices I-K
Ignored pages	Pages 381-384 excluded by project instruction

14.2 Recommended Multipart Access System

Future document	Length target	Purpose
FX6 Cockpit Card	1 page	A single page to keep with the camera.
Indoor/Outdoor Cine EI Cards	2-4 pages	Fast decision cards for Base ISO, shutter, aperture, ND, WB, LUT, focus.
Muted-Color Visual Guide	10-15 pages	Lighting, palette, wardrobe, production design, and grading restraint.
Scenario Recipe Pack	8-12 pages	Actor reel, dialogue, exterior, documentary, offload/import workflows.
Post/Media Safety Guide	8-12 pages	Card identity, offload, folder structure, proxies, archive.
Full Handbook Index/Decision Tree	5-10 pages	Where to go in the full Handbook when stuck.

Recommended next step

After reviewing this Summary Guide, the next most useful extraction is likely a one-page FX6 Cockpit Card plus separate Indoor and Outdoor Cine EI cards. Those can be printed, laminated, and carried with the camera.