OTHER: AJ-PX270 color matrix

B

Bruce Watson

Veteran
The AJ-PX270 webpage at B&H Photo says: "12 Axis Matrix Control + 3 skin tone: Provides a 12 axis color control of you image, with 3 skin tones control, so you can isolate and adjust your colors precisely, and protect your skin tones."

I would assume (oh noes! not again!) that this would work the same way it works on Panny's broadcast cameras. Thing is, I've never used one of those. So I'm wondering what the workflow actually is. I can imagine that it requires a color chart and a vectorscope and the operator manually adjusting the matrix one axis at the time to "hit the boxes" on the vector scope. That would be a time suck and error prone, but would give you exacting control.

OTOH, I can also imagine that all you need is a gray card and a manual white balance that would take care of all the axes at once. Maybe not as accurate, but way quicker and perhaps "good enough" for broadcast work. I'm thinking this because most modern cameras when manually color balanced take care of at least two axes -- the orange-blue "color temperature" and the green-magenta "fluorescent green spike" axes. It's not a giant leap to think this could be expanded to control more axes.

Or something else. So.... anyone have a clue as to what the actual workflow might be for this?
 
The Color Correction Table is there if you want to tweak it. You don't have to but you can and impact just a little or a lot. It isn't a time suck but a creative opportunity that till now the lower end of the market didn't have. Now you do. Yes if you want to place the colors in their respective vectors, you would want a scope and a Chroma duMond chart, but sometimes that isn't what you want like the color that was established for the film Amelie, as one extreme example. It always has been when the small camera came on the shoot with the larger cameras the larger cameras would have to be tweaked to match the little camera, now that reality has changed. The same is true on the Gamma and the Knee settings, the flexibility of getting the picture you want is now in the camera.

Hoe that helps,

Jan
 
Go through the Scene Files section on Panasonic's website and you can see just how much "painting" you can do with the color controls. It gives you tremendous flexibility in dialing in an in-camera look. In today's world of "shoot it flat and do all manipulations in raw", it's not likely to be as popular as it would have been a few years ago when more of an emphasis was placed on "getting it right in-camera in the first place." I'm a "get it right in-camera" type of guy, so I look forward to it.
 
You must log in or register to reply here.
Back
Top