Any advice on matching an HMC 150 with a Canon 7D?

O

oxband

Well-known member
I'm shooting a film with my HMC-150 and the other person I'm working with has a Canon 7D. These cameras have different sensitivities. When we compare our footage, we notice his footage is more saturated and the contrast is much richer. I'm trying to figure out how to make our two cameras match. What I've decided to do is use Barry Green's settings listed here: http://www.dvxuser.com/V6/archive/index.php/t-148638.html


"detail +2, v-detail +2, coring +1, chroma level +2, cinelike matrix, and cinelike-V gamma. If that's too contrasty, change to cinelike-D gamma."


This seems like it has solved the job somewhat. I've also changed my Master Pe to -2. Any other thoughts or suggestions so that matching the footage and cutting between the two will be easier come editing time?
 
Its not easy but I was using the f3 Spark setting and toned it down a notch i believe... dont have the cam on me to see what is boosted in that profile.. I also had to pull some color and detail out of the 7D. I never got a perfect match though and do the rest in post..

A dual imput monitor or 2 external monitors is what will really help. You can put them side by side or switch back and forth to see the differences.
 
There is no magic bullet for this issue. Both cameras can be setup for an almost infinite range of looks, either via menus or (Canon) profiles. You need to settle on the basic look (or looks) you need for a project, test and tweak. Having a couple broadcast-level monitors for testing will speed things up.

There are major differences to the looks out of the box; I've found my HMC settings to have much deeper blacks and saturation than the Canon. The chances of someone posting a scene file for the HMC that magically works is pretty low. But the HMC allows you a big range of tweaks via menus. I'd suggest you get the look you want on the Canon, and replicate it as closely as possible on the HMC. Look at blacks, saturation, white balance and overall tone of color for starters, and get it as close as you can in-camera.

Testing and tweaking this way sort of separates the men from the boys, so to speak. But it shouldn't be a huge project, and could conceivably be dialed in during shot setup, especially if you have adequate monitoring for the HMC (and its crappy LCD). I find my T2i's LCD to be pretty accurate, once I dialed in the brightness.
 
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