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    Scene 24p
    #11
    Fest Master Larry Rutledge's Avatar
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    Author: EyeBite
    Original Thread: http://www.dvxuser.com/V6/showthread.php?t=41088


    This is very similar to the default settings for Scene #5 (24P), except the blacks are much more crushed.



    Settings
    Detail Level: -4
    V Detail Level: 0
    Detail Coring: 0
    Chroma Level: -7
    Chroma Phase: +7
    Color Temp: -7
    Master Ped: -12
    A.Iris Level: -2

    Gamma: Cine-Like_V
    Knee: (Auto)
    Matrix: Cine-Like
    Skin Tone Dtl: Off

    V Detail Freq: Thick
    Progressive: 24P
    Last edited by Larry Rutledge; 08-06-2007 at 03:11 PM.


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    Scene On Fire
    #12
    Fest Master Larry Rutledge's Avatar
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    Author: EyeBite
    Original Thread: http://www.dvxuser.com/V6/showthread.php?t=41088


    This one's where I keep the scene dial by default. The colors are rich, the contrast is way up there, and it makes for fun color correcting in post. Like I explained earlier, the "On Fire" comes from the movie "Man On Fire," because the looks can be pretty similar.



    Settings
    Detail Level: -7
    V Detail Level: -7
    Detail Coring: -7
    Chroma Level: +4
    Chroma Phase: -7
    Color Temp: +4
    Master Ped: -15
    A.Iris Level: -2

    Gamma: Cine-Like_V
    Knee: (Auto)
    Matrix: Norm
    Skin Tone Dtl: On

    V Detail Freq: Thick
    Progressive: 24P(ADV)
    Last edited by Larry Rutledge; 08-06-2007 at 03:11 PM.


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    Tang
    #13
    Fest Master Larry Rutledge's Avatar
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    Author: fevercity
    Original Thread: http://www.dvxuser.com/V6/showthread.php?t=113122

    The idea was to cook up a somewhat contrasty, autumnal, late afternoon warm look that bent towards yellow. Believe it or not, "TANG" does not bend towards yellow. Shot a batch and put them up on the old Tektronix 1740 scopes / waveform. "TANG" falls into a weird area between red and yellow - somewhat of a coral kind of orangey-pinkish fusion. Because the white-balance has shifted so dramatically, it behaves differently depending on exposure and colors in-frame. No surprises there but it ended up looking more like TANG than the intended October cornfield gold.



    Settings

    DETAIL LEVEL -3
    V. DETAIL LEVEL 0
    DETAIL CORING +2
    CHROMA LEVEL -7
    CHROMA PHASE -3
    COLOR TEMP -5
    MASTER PED -7
    A. IRIS LEVEL -2
    GAMMA CineLike
    KNEE n/a
    MATRIX NORM
    SKIN TONE DTL OFF
    V DETAIL FREQ THIN
    24p

    White-Balance from one sample of a BEHR paint color chip card (free from Home Depot).... It's a 4-color card from the 520F line. The 2nd color from the top is "520F-5 HARBOR". It's sort of a blue-ish green.


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    CyBlue
    #14
    Fest Master Larry Rutledge's Avatar
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    Author: fevercity
    Original Thread: http://www.dvxuser.com/V6/showthread.php?t=113356

    A 'cool blue' look actually leans heavily towards cyan, stopping just short of it. There's actually more cyan in any given 'blue look' than there is blue. Blue gets too blocky and noisy. Our first thought on seeing a similar shot is "Hey, that's a cool blue". Usually, there's some cyan-at-play. Cyan proved increasingly difficult to find its evil twin, reverse or anti-complementary color for a white balance fake. Yes, that's complementary, "relating to or constituting one of a pair of contrasting colors that produce a neutral color when combined in suitable proportions". Suffice to say, it can get old white-balancing and staring at scopes.



    Settings
    DETAIL LEVEL -4
    V DETAIL LEVEL -3
    DETAIL CORING +2
    CHROMA LEVEL -7
    CHROMA PHASE -7
    COLOR TEMP -3
    MASTER PED -6
    A. IRIS LEVEL -2
    GAMMA B. PRESS
    KNEE LOW
    MATRIX NORM
    SKIN TONE DTL OFF
    V DETAIL FREQ MID
    PROGRESSIVE 24p

    IB64 "Lifevest Orange" was the WINNER for this white-balance fake.



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    #15
    Todd Wannabe dory_breaux's Avatar
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    I'll play!

    UnTelecineded 16mm

    Detail Level +4
    Chroma Level +7
    Chroma Phase +7
    Color Temp 0
    Master Ped +4
    Gamma/matrix CineLike
    V-Detail Freq Thick
    24Pa





    Hevey Blue (like cy blue sort of but geared toward the DVX100)

    Detail Level +5
    Chroma Level +7
    Chroma Phase +4
    Color Temp +7
    Master Ped -7
    Gamma/matrix CineLike
    V-Detail Freq Thick
    24Pa





    30p Red Tint(would be good for a desert scene I would immagine)

    Detail Level +1
    Chroma Level +7
    Chroma Phase -7
    Color Temp -7
    Master Ped +4
    Gamma/matrix CineLike
    V-Detail Freq Thick




    24pa Hevy Red (much like the previous one, but in 24pa and slightly diferent)

    Detail Level +7
    Chroma Level +7
    Chroma Phase +7
    Color Temp -5
    Master Ped -9
    Gamma/matrix CineLike
    V-Detail Freq Thick
    Quote Originally Posted by TimurCivan View Post
    one is french and its different for that reason.


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    #16
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    Hey Larry R, are you shooting with an adapter and 35 mm lens?
    Last edited by mmiller884; 01-23-2008 at 04:54 PM. Reason: Didnt read full thread


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    Very Cool, But Why?
    #17
    Senior Member flimflamfilms's Avatar
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    Default
    Larry,

    As a subscriber to this thread, I really enjoy the creativity you show in using different ways to trick the WB, and the looks you get are pretty cool to play with. I've shot some stuff using the looks you describe and have had fun playing with paint chips of my own.

    Being new to this whole ability to tweak 'in camera' I'm wondering what the advantages would be to creating these looks in camera as opposed to post. It's fun, it's creative, but doesn't it tie you in to one look? If you shot normally exposed footage wouldn't you have more options in post for what kind of look to achieve?

    Lookin' to learn,

    John


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    #18
    Senior Member fevercity's Avatar
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    Hey, Gang..... I can't vouch for these as I haven't tried them out. They're borrowed from Marc Levy's post over @ cinematography.com. I've cross-posted my settings there too (GoldenEye, 8Ball, WarmRust, etc.) I wouldn't have made the same choices but here's to keeping this thread alive.


    From Marc Levy:
    When I've shot with the DVX100B, these are the settings I've used for a "film-look" over and over again. If you want, you can change the chroma level to give you either a more saturated or less saturated image. Also, setting the color temp to -2 or -3 and then manually white balancing can yield a nice warmth that I've used a good bit for day exterior work.


    Scene File F5:

    Detail Level: -2
    V Detail Level: +2
    Detail Coring:0
    Chroma Level: 0
    Chroma Phase: 0
    Color Temp: 0
    Master Ped: -6
    Auto Iris Level: 0
    Gamma: Cinelike
    Knee: Auto
    Matrix: Cinelike
    Skin Detail: Off
    V Detail: Thin
    Gain: 0db
    Progressive: 24P


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    #19
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    can anyone do a reup on the missing pictures? thanks


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    #20
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    This has been very helpful to me. I appreciate everyone who posted their settings on this


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