F3: F3/F5 PP matching

C

captslomo

Well-known member
We've got an F3/F5/FS700 shoot coming up in a couple of weeks. Any suggestions for complementary PPs, especially for the F3/F5 duo? Both will be shooting with the Cabrio 19-90 lens. I've been using Doug's F3 everyday PP with a couple of modifications, and really like that look.

I should mention we're doing our best to give the editor a nice, vibrant look that requires as little grading as possible.
 
I had to do F3/F55 shoot and I ended up using a chroma du monde chart, waveform, and vectorscope and in my books that makes it easy. If you don't have access to that, then I would shoot everything in slog and match it up an worry about it in post.
 
Our editor just sat bolt upright and whispered "I felt a great disturbance in The Force..." I suspect slog is not an option. The du monde charts are probably a good idea, although both cameras will not always be together all the time, so we were hoping for some base settings to keep us in the same ball park independently. Might be wishful thinking.
 
I did a shoot this week for HBO's "Real Time" with Bill Maher. We used 2 F3s and my F55. We called Andy Shipsides at Abel Cine Tech and he advised us to use the their picture profiles JR45 or AB Normal that were designed to match up cameras. We ended up using the AB Normal with HG4 setting on the F55 and Cine 1 on the F3 because they wanted a more video TV look. The producer was very happy with how the cameras matched up with minimal tweaking in the edit.
 
davegoulding said:
I did a shoot this week for HBO's "Real Time" with Bill Maher. We used 2 F3s and my F55. We called Andy Shipsides at Abel Cine Tech and he advised us to use the their picture profiles JR45 or AB Normal that were designed to match up cameras. We ended up using the AB Normal with HG4 setting on the F55 and Cine 1 on the F3 because they wanted a more video TV look. The producer was very happy with how the cameras matched up with minimal tweaking in the edit.
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Nice - I'll try that approach
we used my Red chart & ended up with the F35 PP to get my F3 to match F55
 
I have a regular two camera gig that I shoot once a week, F5 xavc and F3 to Samurai. This look is not "vibrant" but it does match very well, my editor says it takes minimal work in post to match them up. You can watch the video and judge for yourself, while your at it try to guess which shot is what camera, a FYI the F5 has a SoftFX 1/2 on it with all Sharpening/Detail off and the F3 has a slight bit of Detail on. I use the Lastolite grey & white card small collapsible reflector to get my exposures close and set a "auto" White Balance off of, both using the 18% grey side. Make sure to Black Balance at start of shoot.

F3:
Gain: I try not to ever go higher then 800, usual at 570 or 400.
Gamma: Cine 4 (expose grey card at 50 or skin highlights at 70)
Level: +60
Matrix: Cinema (no paint adjustments) -Level: 0
Phase: +20 (to better match F5, looked way to green at 0)
Detail: Level -17, Freq +20 (Will set to Off if I think there is a chance of moire, only seen twice with clothes in 2 years)
Aperture: +25 (Will use if Detail is on)
Black: -2
Black Gamma: 0

If subject is wearing some sort of synthetic or semi-syn black clothing I'll use the Tiffen T1 on the F3 to correct for far-red pollution (blacks going muddy red/brown), EX-1/3 had the same problem, F5 seems to be fine without it. Dont forget to re-WB.


F5:
XAVC
Gain/ISO: 1500 or 2000
Gamma: HG 3 (If you need more DR try HG7) -Expose grey card at 40-45 or skin highlights at 60.
Master Black: -3
Detail: off
Matrix: Cinema (no paint adjustments)
Level: +40
User Matrix: On but onlyin order to set Level

 
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Fotojorno said:
No problem, hope it helps.

You guys still havent attempted to guess which shot is what camera..
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All right, here's my attempt. I'd have to say the closeup shot is the F3. You can what looks to be detail enhanced in the leads hair and dress. The F3/F5 do match pretty well, and it looks like the T1 works great to keep the black pants black on the bassist. I should really pick one up. That said, if you watch the black backdrop- it looks like the bassist pants on the wide shot are still a bit red to my eyes. Maybe it's just my monitor : )
I thought the video had great production and sound too.
cheers,
 
pchristoph said:
All right, here's my attempt. I'd have to say the closeup shot is the F3. You can what looks to be detail enhanced in the leads hair and dress. The F3/F5 do match pretty well, and it looks like the T1 works great to keep the black pants black on the bassist. I should really pick one up. That said, if you watch the black backdrop- it looks like the bassist pants on the wide shot are still a bit red to my eyes. Maybe it's just my monitor : )
I thought the video had great production and sound too.
cheers,
Click to expand...

Well.. I think this just shows how well the F3 still stands up. Hate to tell you but you guessed wrong. The tight shot is the F5 w/all Detail off as in my notes, it even has a SoftFX 1/2 on it. The wider (50mm) is F3 and since the black clothes that were being worn were not synthetic I chose not to use the T1. I re-checked for the red you mentioned and I couldnt see any on my 27" iMac, might be there though.

Thanks, yeah our soundman is awesome, at least six mics in that shot.
 
Fotojorno said:
Well.. I think this just shows how well the F3 still stands up. Hate to tell you but you guessed wrong. The tight shot is the F5 w/all Detail off as in my notes, it even has a SoftFX 1/2 on it. The wider (50mm) is F3 and since the black clothes that were being worn were not synthetic I chose not to use the T1. I re-checked for the red you mentioned and I couldnt see any on my 27" iMac, might be there though.

Thanks, yeah our soundman is awesome, at least six mics in that shot.
Click to expand...

Well I'm even more impressed now. As an F3 owner I've never been happier being wrong on this one : ) These cameras really play nice together. Cheers.
 
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