Monitors

You are so right. Only we see the tiny differance in image quality.
Postmaster said:
QUOTE=morgan_moore;2393755]IMO such an approach will compromise your final image quality S
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That´s the reason why I sing the gospel of uncompressed till delivery (or at least Cineform - which is the next best thing to uncompressed).As I said, the AVCHD holds up way better than I thought - for local advertising, industrial, corporate and low budget stuff, it´s absolute usable including color correction. For that kind of projects I don´t even considering to convert into something else. You can see some examples here: http://www.dvxuser.com/V6/showthread.php?255736-Grabs-from-a-national-radio-image-film&highlight=Maybe we sweat it too much. Most things you see in theatres was trancoded, graded and compressed multiple times, and it still looks good enough.Frank[/QUOTE]
 
I found the DP1x not to be ANYWHERE near as good as the DP6 in terms of color reproduction. I loved my DP1x for the freedom and size of image it gave me, but I always felt it exaggerated the contrast in scenes quite a bit, which I do not see on the DP6.

As for color, we just aren't as picky, we fix it in post. We've been doing this with the HVX200, 7D, AF100 and now the FS100. I listed them in this order because that is the order in which we think the cameras are forgiving in terms of grading. The FS100 image can REALLY be pushed pretty far, and I was amazed by that.

One thing I will say, most of the shoots I am on are go go go. Trying to mess with color settings in the scene menus is just not practical to me. I can white balance, I set exposure, I set aperture, and then I go. For blowouts, I just the histogram, zebras, and I just look at the image. I'm not afraid of blowouts in my scene, but I do know when I don't like how they look. So I am just careful and use the DP6 to check them. I've never been dissatisfied with doing this.

I don't shoot photography, so I can't really comment there, but from my own thoughts, I think it's really different in the sense, you are framing ONE shot. With motion capture, you have movement of both talent AND possibly the camera. For this reason, you have to build in margin to your exposure since small changes can push what you see up and down intensity wise. With a camera with a low noise signature, you get a little more freedom in post for that, but if you want to prevent clipping, you've got to check around at what could clip even though what you are currently pointing at will not.
 
You white balance off the source light

Set color bars.
You use a high quality monitor as you can afford that has the ability for true color bar adjustment with real color bars.

If the image is not to your liking you adjust your PP

Get the image as close as possible to what you want if you're staying AVCHD

Use an off board recorder with better codec if you want to post work the color.

Relying on AVCHD for post working color and keeping a good quality image at the same time is a mistake. Unless al you're shooting for is youtube..
 
mico said:
You white balance off the source light

Set color bars.
You use a high quality monitor as you can afford that has the ability for true color bar adjustment with real color bars.

If the image is not to your liking you adjust your PP

Get the image as close as possible to what you want if you're staying AVCHD

Use an off board recorder with better codec if you want to post work the color.

Relying on AVCHD for post working color and keeping a good quality image at the same time is a mistake. Unless al you're shooting for is youtube..
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You can push AVCHD pretty far, but if you are doing VERY heavy grading, then yet, it's possibly going to be a problem. Shoot closer to what you want in camera. That said, I think AVCHD in both the FS100 and AF100 color wise can be pushed pretty far, a lot farther than my 7D could with it's H.264 implementation. The only way to know for sure is to test, test, test.
 
Rick, I just got the DP6 yesterday for my FS-100 and will probably have some questions for you but I'll do my own investigating first. There are quite a few adjustments possible on the DP6, I am wondering if you have been able to come up with one set of settings that suffices for most situations, indoors and out, or are you constantly having to play with the settings on the DP6? I'm talking about color, sharpness, etc of the image (May not be a good question)
 
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I've been happy with mine out of the box. I went through all the settings and set the presets to 1:1 and edge detect. I use a sunshade outdoors. Given I've only done one shoot with the FS100 though, I still need time myself to evaluate what I saw with the FS100 and what I saw when reviewing footage.

With the AF100, which I used the DP6 with as well, I thought that the default settings matched close enough to what I saw later, so that's why I was using them.
 
So, Rick, you are using the 1:1 I assume to enhance your ability to judge focus, but are you leaving it on most of the time (when you are moving around a lot) and doing framing with the FS100 LCD?
 
Rick Burnett said:
I found the DP1x not to be ANYWHERE near as good as the DP6 in terms of color reproduction. .
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Agreed

Thanks for everyones thoughts

I think Im going to get a small HD

Ill get the SDi version so I could feed it from a HDMI driven recorder keeping the HDMI leads to a minimum

The deciding factors are..

-The shade
-Possible firmware upgrade path

I have encouraged them to add a method of evaluating colour in Firmware

S
 
I find the DP6 method of focus peaking hopefully an advantage, although I haven't used it in all sitatuations. It is subtle, so it doesn't destroy the image with bold white/coloured outlines which interfere with the view, and also which also can blend into the background. Having been use to focus peaking on the FS100 and DSLR's with Magic Lantern, I thought the DP6 focus peaking wasn't working at first! Obviously, only a high resolution, large monitor could utilize this type of focus peaking.
 
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Kraut69 said:
So, Rick, you are using the 1:1 I assume to enhance your ability to judge focus, but are you leaving it on most of the time (when you are moving around a lot) and doing framing with the FS100 LCD?
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I don't leave it on after I set the focus, I set it back. I've gotten pretty good at setting focus with 720p and not needing 1:1, but, I still check on super shallow scenes to make sure I hit it right. If I have to pull focus, I just do it without it. I find with most lenses/cameras, after a few weeks of using them, you know where focus is most of the time.
 
it has a 480 px screen so cant really be relied upon for focus

of course its cheaper

If I was using cine lenses and had a focus puller id look for different specs in a monitor, small light bright and free of reflections - thats transvideo

EVFS are 480px too so they give the 480 res in a smaller lighter package than the marshall

S
 
Agreed for Run&Gun, but for still shots I'd assume that the higher magnification at 1:1 caused by the lower res of the panel would be beneficial.
 
I'm kinda bummed that I'll have to use my Sony CLM V55 (with its 480 res!) for a little bit while I pay off my FS100 (arriving friday) and Lomo's! Does the FS100 LCD screen operate while the HDMI out is being used? I'm assuming I will use my monitor for framing, and keep the FS100 LCD on 1:1 mag if possible for close focus.
 
robmneilson said:
I'm kinda bummed that I'll have to use my Sony CLM V55 (with its 480 res!) for a little bit while I pay off my FS100 (arriving friday) and Lomo's! Does the FS100 LCD screen operate while the HDMI out is being used? I'm assuming I will use my monitor for framing, and keep the FS100 LCD on 1:1 mag if possible for close focus.
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The problem with the built in expanded focus is that it is not 1:1. It is "about 2.0 times" according to the manual which puts it in the 720 category.
 
sinapps said:
The problem with the built in expanded focus is that it is not 1:1. It is "about 2.0 times" according to the manual which puts it in the 720 category.
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I've used it and it works really well. Given the size of the LCD, I'd rather have 2x than just 1:1, but I'd prefer both. That said, I mostly use my DP6 with my FS100 which has 1:1 so maybe I just don't test it enough :)
 
Thanks folks. 720 will work in a pinch since beggars can't be choosers. I'll be relocating from NYC to Houston Texas, so hopefully I can get some good freelance work down there to be able to purchase a DP-6 in the near future. Really looking forward to shooting tests with this camera this weekend.
 
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