Green Tint

JRJphoto said:
The camera actually doesn't care if the surface is white or grey. It cares if the surface is neutral. A lot of the time, we find ourselves white balancing on walls, sheets of paper, t-shirts, clouds...none of those are neutral white, spectrally speaking. A good white balance card should be matte (read: not glossy) at about 80% white. And you should wb with the card in key light but without spectral artifacts (reflections of the lights, contamination from other light sources especially ones with colors not intended for key, any highlights, etc). An 18% gray card is not only a cute exposure helping tool, but it should also be completely neutral and really hard to catch reflections on...being that it absorbs more light than it reflects. So...it's not that an 18% gray card is necessarily better or the best choice for the DVX200, but it is a handy tool...one with its own limitations and caveats. Again, your best results will always be when you have conplete control of the set.
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Jason is correct. That is how I do it. Use anything white to set the white balance. The gray card is used to set exposure.

The DVX does not produce a green tint. Any tint you experience is the result of the way you are lighting you subject, or the quality of the light that exists while recording. Period. The DVX is an amazing camera, but it is complex. It takes time to learn how to use it properly. For some people, it might be too much camera for them. The majority of complaints, I see posted are operator error.

Until you get this stuck into your head, that it is NOT the CAMERA, you will never correct the problems you are experiencing. The DVX gives you almost complete control over color, but you must do your part. It is getting boring to see people post problems that do not exist, and then have a bandwagon effect. I think it would be better if the complainers started creating quality work, and moved forward. The camera is incredible for its price range. It can create fabulous shots. So stop blaming the camera. And start creating.
 
Are there inexpensive flourescent bulbs that are less offending? Are there any moderately priced bulbs? Are daylight flourescents better or worse than some other color temperature?

We have two DIY 10 ft by 4 ft wall of cheap flourescents. What affordable bulbs would give best results?

Is it possible to include something green in the field of the camera while white balancing to force the camera to balance out the tinge, or at least create a better alternative palettte?
 
David_ said:
Are there inexpensive flourescent bulbs that are less offending? Are there any moderately priced bulbs? Are daylight flourescents better or worse than some other color temperature?

We have two DIY 10 ft by 4 ft wall of cheap flourescents. What affordable bulbs would give best results?

Is it possible to include something green in the field of the camera while white balancing to force the camera to balance out the tinge, or at least create a better alternative palettte?
Click to expand...

Curious as to why you would build 2 walls so large, using I would guess, between 10 to 20 bulbs, without first testing or inquiring? I personally have always hated florescent bulbs period. Never use them for anything personal and avoid them like the plague for shooting. Why don't you research and see if there are any quality color balanced tubes that fit your fixtures. That might help. Otherwise if you want low wattage and cool running lights go the LED road. Maybe time to stop pouring money into a lost cause. Something green in the field of the camera? Really? You sound desperate. Hope you find a solution.
 
Totally agree that V-Log is the way to go. Recently did a shoot in a car dealership - used Scene 4 with mixed lighting - wierd showroom flurescents, my LED's and Fresnels with gels, and some halogens in the showroom.
I duplicated the shots first with Scene 4 (Barrys scene files) and then with V-Log, and found when I brought them into Premiere that there was a lot of green in the Scene 4 files. It was fairly complex to remove the tint without changing the deep crimson of the car - but when I brought in the V-Log files and applied the DVX / Varicam LUT - it was worlds apart -much more neutral.

This was with the 8bit internal codec - but each time I shoot with V-Log I find more reasons only to use it and nothing else.
 
Since I first bought the DVX200 early last year( i know of this problem in a review), it give more of a green tint on the skin then other camera ( http://www.hd.club.tw/forum.php?mod=viewthread&tid=202078&highlight=dvx200 this is not in english you can see the last few photos in the post). I know this is caused by the poor fluorescent lighting or LED lighting. The interesting part is when I am recording side by side with the FZ1000( or other panasonic camera) or a 1DC or 1dx2 or osmo, or gopro or iphone, the tint cannot be notice at all on the other camera.

In location where you have full control of lighting and outdoor the DVX200 is a perfect piece of equipment, however when in a event situation with LED or fluorescent lighting the DVX200 is not usable. My solution is to avoid using the DVX200 in such environment.

In this screen below u can tell the white board on the back is fine, but the face is all green tinted. It was properly color balance. I have also tried x-rite color board in these situation to see if I can correct it in post, with no usable results
I am visiting today because I am doing a multicam indoor event and I only have 2x 1dx2 that can do 4K60p and need a third one(hopefully the DVX200), just wondering if there are any solution from Panasonic to cure this weird today. Seem like the answer is no >_<

Screen Shot 2017-07-27 at 09.11.15.jpg
 
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