ALL: how to setup to match gh2 or a 5dmk3?
- Thread starter dxl
- Start date
Michael Carter
Veteran
I've matched footage between an HMC 150 and Nikon and Canon DSLRs; there's no one-click way to do this, and the question of what you want the footage to look like will vary from project to project. I'd say the best way is to spend a few hours with both cameras testing.
You need to identify what sort of look you want to leave the shoot with - the "profiled" DSLR look, or a look close to your final edit, etc.
The Panasonic cameras have vastly more image controls, so get a color chart, a model, and an NLE with accurate monitoring together in a setting similar to the project ahead (outdoors, indoors, dark, bright, etc). I've generally gotten the look I wanted on the DSLR, and then tried to replicate it on the video camera. My experience with my go-to HMC150 settings is the blacks are far deeper, the color is far more saturated, and there's a big difference in things like the cast of reds and greens. Just lifting the master ped to match the SLR is a big move in the right direction.
A color chart is really handy for this and you can use it exclusively (amazon sells a good one for about $30). But having some skin tones in the test is a good idea too.
When I haven't tested beforehand, just grading the HMC footage to lift shadows and cutting back on saturation goes a very long way. This can introduce some noise though, getting master ped right on set helps a lot with this.
You need to identify what sort of look you want to leave the shoot with - the "profiled" DSLR look, or a look close to your final edit, etc.
The Panasonic cameras have vastly more image controls, so get a color chart, a model, and an NLE with accurate monitoring together in a setting similar to the project ahead (outdoors, indoors, dark, bright, etc). I've generally gotten the look I wanted on the DSLR, and then tried to replicate it on the video camera. My experience with my go-to HMC150 settings is the blacks are far deeper, the color is far more saturated, and there's a big difference in things like the cast of reds and greens. Just lifting the master ped to match the SLR is a big move in the right direction.
A color chart is really handy for this and you can use it exclusively (amazon sells a good one for about $30). But having some skin tones in the test is a good idea too.
When I haven't tested beforehand, just grading the HMC footage to lift shadows and cutting back on saturation goes a very long way. This can introduce some noise though, getting master ped right on set helps a lot with this.