7Q monitor calibration controls

stefanhuberfilms

stefanhuberfilms

Veteran
Hi folks,

the 7Q's green tint... first i thought that whoever came up with it (can't remember) - was wrong, but then during a recent shoot (overall tungsten kino's and fresnels) it became pretty obvious that the screen to rely on was the FS700's in camera screen. (proofed that with an on-set review on a calibrated MBP screen).

anyway, today i sat down with my 7Q and tried to remove the greenish tint, these are the settings i came up with:

OLED MONITOR SETTTIGNS:

Saturation: 65% (not really nescessary)
Contrast: 50%
R-GAIN: 98%
G-GAIN: 87%
B-GAIN: 100%

BACKLIGHT was set to medium while adjusting these settings.

Did anyone else bother about that as well? If so, please share your findings, or proof that i got it wrong.

cheers!
 
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stefanhuberfilms said:
Hi folks,

the 7Q's green tint... first i thought that whoever came up with it (can't remember) - was wrong, but then during a recent shoot (overall tungsten kino's and fresnels) it became pretty obvious that the screen to rely on was the FS700's in camera screen. (proofed that with an on-set review on a calibrated MBP screen).


Did anyone else bother with that as well? If so, please share your findings, or proof that i got it wrong.

cheers!
Click to expand...

Thank you!

I have been one of the guys calling the green tint out. Nice to see it proven.

One of these days i will update my unit and take a look with my color calibrator as well.
 
...you're welcome, we still need to proof that i got it somewhere in the ballpark though, so any assistance would be appreciated... also, i'm not quite sure if the greenish tint is equal on all devices.

of course, kudos to CD making these controls available. Sometimes, i feel that there is still hope that we will get what was promised to us a year ago...
 
Its getting better every day, thankfully.

Now that the core features are in place (at least for me), the wait is manageable.

Updating my unit now.
 
i was planning on getting an o7 (no q) soon. is this issue still present in newer/newly shipped models?

is it still a problem if you calibrate to camera bars?
 
Martin.G said:
Its getting better every day, thankfully.

Now that the core features are in place (at least for me), the wait is manageable.

Updating my unit now.
Click to expand...
Well two of the core features are still missing for me, 4k 60p prores and 2k 120p/240p ProRes, but thankfully, we've got the basics covered recording wise.
 
Josh Bass said:
i was planning on getting an o7 (no q) soon. is this issue still present in newer/newly shipped models?

is it still a problem if you calibrate to camera bars?
Click to expand...
The tint is still there, but now it is easily correctable, i think if you calibrate it by bars, you'll have the most accurate result. dialing the in the values by eye works well enough for me though.
 
Thanks. So you're saying calibrating to bars negates the tint issue? I guess I'm wondering how that issue pops up in the first place, then? Wouldn't you always calibrate to the camera you're using? All camcorders should output some kind of bars, only exception being something like a DSLR. In which case I understand.
 
@clermond: i just matched the FS700's internal screen to the 7Q, since the internal screen seemed more accurate. Didn't use any 709ish tools to calibrate it, just used slog2.
 
josh, not sure if this answers your question: the Odyssey recorders have calibration controls since last friday (fw release 4.10.110). Yes, all pro level cameras should send out bars, but prior to the fw 4.10.110 these bars were pretty useless, not beeing able to adjust anything on the monitor side.
 
OH, didn't realize Odysseys didn't have those controls until recently! To me that's odd. . .I would have assumed any pro monitor had your basic chroma/hue/phase (maybe not phase)/contrast brightness adjustments.
 
Josh Bass said:
i was planning on getting an o7 (no q) soon. is this issue still present in newer/newly shipped models?

is it still a problem if you calibrate to camera bars?
Click to expand...
To be clear, I think there should be care taken with the term "issue" here. It is the position of Convergent Design that the color response of the OLED monitor on the Odyssey monitor/recorders is correctly set when leaving the factory. In a world of LCD monitors with fluorescent backlights, we believe that the vast majority are "green starved," in that they are over-corrected towards magenta to prevent the green spikes inherent in their backlights. We feel that our OLED color response is excellent and more closely matches the response of a quality CRT display.

That said, we also recognize that our products are not used in a vacuum and must interact with other displays on set. If in the end the image is to be seen on a display that shows colors in a certain way than it is important for image-makers to be able to view such color response while shooting. That is why the Odyssey monitor/recorders now have increased calibration controls.
 
"We feel that our OLED color response is excellent and more closely matches the response of a quality CRT display."

There definitely is something off with the color of the 7Q. I just shot for two days in a suite with controlled lighting with REC709.
For every shot I viewed the 7Q screen, the Sony FS700 LCD screen and the real live scene. The Sony FS700 LCD screen matched the real live scene
(seen with my eyes) much better than the 7Q. My client even asked me which screen had the correct color and I had to
say the Sony FS700 LCD screen.

You can read all the scopes you want and say the 7Q is accurate but when it is off compared to the real live scene and the Sony FS700 LCD screen
is much closer something is off with the 7Q. Maybe it's just my 7Q.

I hope the new controls for the 7Q get it more in the ballpark.
 
My goal with calibration/white balance is generally to get the camera (and any monitoring devices attached to it) to match "real life" as closely as possible. . .between my eyeballs seeing something in real life and looking in the cam VF or monitor. Skin tones should look the same, the guy's blue shirt should look the same, the walls should look the same, etc (sometimes not entirely possible due to lighting conditions). Whether magenta or green biased, I would want the monitor to be as accurate as possible in that regard, or be able to be made that way.

Sometimes you just have to abandon the technical stuff and say "does this SEEM RIGHT?" And if not, there's a problem. Similar to how many complain that the Spyder devices for calibrating monitors make the monitor image super warm. Some say that's "how it's supposed to be", but is it? Do you want to be color correcting your photos based on that image?
 
whoa...there's a real pitfall involved in calibrating monitor colors by eye. the brain will make color adjustments to visual images based on relative conditions. what you think looks right will change according to lighting, background color, what colors your eyes were looking at right before you looked at your screen, and a host of other parameters. if it "seems" right, chances are it isn't.

most spectrometers, like a spyder, are designed to provide a reproducible relative reference, not necessarily an absolute reference. they will correct colors at one luminance level, but, be pretty far off at other luminance levels. or, they may set a correct white point for Rec709, but be pretty wrong at the RGB individual vertices because they don't account for the way an individual monitor panel reproduces color. That's why LUT boxes or built in LUT processors were invented. There's a lot of articles available on this subject like the ones at Spectracal.
 
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