OTHER: PX270 Scene Files

G

ggrantly

Veteran
Coming from the 170, I had a pretty good understanding of the scene file parameters. The 270 offers a bewildering array of additional options. I'm working my way through the Panny scene file white paper now. Are there other scene file resources available?

How have you tweaked the stock files? Traditionally, the stock Panny files have been mediocre to poor.

Anyone care to share something they have developed to help me get started? I used to help others with their 170 files, now I need the help.

TIA
Grant
 
I sat down and tried to read the Panny Scene File White Paper for the 270. Note I did say tried. I am sure that there was a lot of info there if you spent the time to parse through the laughable Japanese to English translation. This isn't so unusual for Panny manuals as well as there PASS site. Seems like a tech company like Panny could and should do better for probably their largest market; the US, or other native english speakers.

Man I wish Barry G. would write a how to book for this cam. Listening Barry?? With so many other cams out there, and probably smaller numbers of 270's sold compared to the 150 or 170, it might not make financial sense. But Damn, I sure need help realizing the capability and nuances of this cam.

Grant
 
Well it isn't "broadcast quality" But I do have a Matrox Box driving a better quality TV. It has a routine to adjust the blacks. It has worked pretty well for me creating scene files for a 170. I can do that still, but there are so many parameters, that it would take a mighty long time to work through them all.. I was hoping for a charity jump start.

Grant
 
Unlike Grant, I did manage to make it all the way through the Panasonic scene files document, and went back and re-read some sections a few times to make sure I understood it. But I don't think he missed much. It is written at a fairly basic level despite the sometimes difficult language. I didn't find it to be all that helpful, or to explain in enough detail what many of the more advanced and obscure settings do or when they might be useful. I'm sure somebody could write a full length book about all the options and their appropriate application. Barry is obviously the right guy for that job, but the hours required would be long and the rewards probably pretty slim.

For now, I'm trying to zero in on what I like through repeated shoot/review/critique/tweak cycles, and actually, it looks pretty good to me at this point, but I have probably missed some of the more subtle things that are possible through the menus. I certainly don't feel confident enough to advise any others about it right now.

- Greg
 
First, I must admit I prefer to bake the scene file look in for a project instead of pretending to be a colorista after the fact. The type of work I do doesn't support an outside service. With the 170 and my hokie-pokie monitor set up, I would build scene files. Either outside or under lights, I would shoot a scene that had a spectrum of dark to fully lit areas to the point of blow out and carefully expose. I'd also make sure there was a full spectrum of colors as well. I'd start with a stock scene file and get a good look at it, then tweak a parameter, shoot 15 seconds and add metadata. Tweak again, rinse and repeat. When I had enough to work with, I'd view it and take notes on the look, and pick the level of tweak for that parameter. Then move on to the next parameter. Given the less comprehensive scene file options on the 170, you could build a scene file in an hour or two. But the 270 has so many more options, I honestly don't know what a lot of those options even do. Like Greg said, the Panny document is not so helpful. Maybe Barry could write a reference to P2 scene files for the AG series Panny cams as I think most of them have similar options as the 270.

Grant
 
I am a tweaker by nature. Every camera I have ever owned I have spent a lot of time twisting the dials to get my image from the thing. What I have learned over the years is that it is very useful to spend this time as you become very comfortable with your gear as well as learn things. I am sure you feel the same way.

What I did with the PX270 is hook my monitor up live and pointed the camera at a color chart and another collection of difficult colors all lit by a Lowel Tota and the camera set to preset 3200k. I then went through each setting and ran them all the way up and all the way down just to see which one actually made a visual difference. Some things like knee I left alone as DRS is a major knee and I leave that on all of the time. My main focus is color accuracy and achieving what I call a "bright gamma". I want purples to be purple and I want the scene to feel open without being flat. Here are some of my important settings:

Matrix - Cinelike
Master Ped - 10
Gamma Mode - Video-Rec
DRS Depth - 3
Hi-Color On
Hi-Color Lvl - 32
Chroma level - 3-7% (depends upon your specific chip)

I have custom color matrix and color correction settings as well. The most important thing I found was to take all of the red saturation down as low as you can go in "color correction". This allows you to go up on the other colors and reduce the red blooming.

My goal is a great broadcast style video image. I am under no delusions that this is a film camera. It is a video camera that can give some more filmic attributes though.

Good luck and hope this helps some.
 
I should get my X1000 this afternoon. The price had fallen on used ones so low that it was impossible not to pull the trigger. Over the years, I've shot with the DVX100 (on which I captured my first feature), then migrated to the GH series along with the mighty fine HMC150 only to rest for the last couple years with the GH4.

So, I'm considering running the X1000 as the b-cam (wide) for documentary interviews. Therefore, I'll be messing around with the CineStyle D and V settings and possibly frame rates to match the two cameras. My tests will be uploaded to YouTube and possibly my Vimeo account.

What I've not seen is a typical talking head interview setup with this camera. AND I've seen no real grading and matching efforts with the GH4. I will be keenly interested in how much work it will be in grading (hopefully, I can throw on a LUT and tweak and be done), and any differences in skin tone.

Ideally, the camera would perform adequately as a b or c cam, and eliminate the need for my sync sound setup with my Tascam. Since my wife and I are a two man band these days, pairing down the gear will be a big help.

If any of you have a suggested scene file for the GH4 (preferably in CineStyle D and V), please share.
 
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