RED This camera loves reds!.
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Jay_Blanchard
Well-known member
Re: RED This camera loves reds!.
Good question--i shot a theater production recently & the color rendition was fantastic: until a guy walked on the set with a red jacket on. It looked like the pockets were stuffed with plutonium!
There's gotta be something in the menu to control it though.
Good question--i shot a theater production recently & the color rendition was fantastic: until a guy walked on the set with a red jacket on. It looked like the pockets were stuffed with plutonium!
There's gotta be something in the menu to control it though.
Re: RED This camera loves reds!.
Oh good! Someone else noticing what I was. Sometimes as a newbie, it's scary to comment on things like this because you don't want to seem like an idiot.
I shot an interview type thing for a baby dedication on Sat and ended up knocking the chroma level down to neg 3 or 4, although I believe I left the cinematrix set. However, I noticed in post that the picture was pretty washed out. So I ended up adding a saturation filter and boosting the color. This was nice in that it did evenly balance the saturations, instead of having 'hot' reds.
Also, have you noticed that the footage can tend to turn out darker than original shooting exposure. I'm using the zebra @ 100 and exposing for the highlights (trying to avoid blowouts), but I also had to up the whites and mids a bit to get it useable. Just wondering if I'm doing something wrong. Lighting was outdoors in the sun with no shots against the sky (I know you're thinking I exposed for the sky and everything else was too dark.. no I didn't). I had the sun at my back, and also shot under trees in the shadows.
MichaelP, if you have the time, could you please inform a newb on what exactly 'aligning the reds' means/does? Thanks for your help.
Chico
Oh good! Someone else noticing what I was. Sometimes as a newbie, it's scary to comment on things like this because you don't want to seem like an idiot.
I shot an interview type thing for a baby dedication on Sat and ended up knocking the chroma level down to neg 3 or 4, although I believe I left the cinematrix set. However, I noticed in post that the picture was pretty washed out. So I ended up adding a saturation filter and boosting the color. This was nice in that it did evenly balance the saturations, instead of having 'hot' reds.
Also, have you noticed that the footage can tend to turn out darker than original shooting exposure. I'm using the zebra @ 100 and exposing for the highlights (trying to avoid blowouts), but I also had to up the whites and mids a bit to get it useable. Just wondering if I'm doing something wrong. Lighting was outdoors in the sun with no shots against the sky (I know you're thinking I exposed for the sky and everything else was too dark.. no I didn't). I had the sun at my back, and also shot under trees in the shadows.
MichaelP, if you have the time, could you please inform a newb on what exactly 'aligning the reds' means/does? Thanks for your help.
Chico
Re: RED This camera loves reds!.
Chico,
Aligning the read means (i guess) just to make th
em not scream out off the other colors...in other words the y should look as normal reds and not as amublances lights!
MichaelP,
Which should be the drawbacks of turning chroma phase to -4 and the cine matrix type settings to normal? I mean: with this settings you recommend the reds should go in an armonic excistence with the other colors but isnt the total quality of or "film like feeling" of the whole going also down?
Or is this as simple as just when there is red to change the setting as you recommend and mix this footage with other with unchanged settings when ther isnt red? Would this not result in a kind of uneven colour or "look" difference trough the whole project?
To be more precise a little imaginary script: If i am shooting in a room without any red, a hospital room with flower of many colurs but not a single red one(unchanged settings) .
cut to
same hospital room but a red cow enters on a skateboard and jumps trough the window (i change the settings so as the cow will look naturalistic and not as an ambulance light)
cut to
the same room without the red cow (i return to the previous unchanged settings)
credits
Will in this situation be better to shoot all the 3 sequences with the setting you recomend so as not to distor the coherence of the other colours or "look" of the flowers?
And if this situation is going to repeat all along the project althoug in other scenarios (that means: in which as well the same red cow skates trough the scene just for a moment and (in all of them i want the cow to look naturalistic and not like an ambulance)) shouldnt it be better to just work the whole project with the setting you recomend?
Thanks for the patience of reading sucha a long thread..i guess it was the only way to xpress my question in a more general way.
Chico,
Aligning the read means (i guess) just to make th
em not scream out off the other colors...in other words the y should look as normal reds and not as amublances lights!
MichaelP,
Which should be the drawbacks of turning chroma phase to -4 and the cine matrix type settings to normal? I mean: with this settings you recommend the reds should go in an armonic excistence with the other colors but isnt the total quality of or "film like feeling" of the whole going also down?
Or is this as simple as just when there is red to change the setting as you recommend and mix this footage with other with unchanged settings when ther isnt red? Would this not result in a kind of uneven colour or "look" difference trough the whole project?
To be more precise a little imaginary script: If i am shooting in a room without any red, a hospital room with flower of many colurs but not a single red one(unchanged settings) .
cut to
same hospital room but a red cow enters on a skateboard and jumps trough the window (i change the settings so as the cow will look naturalistic and not as an ambulance light)
cut to
the same room without the red cow (i return to the previous unchanged settings)
credits
Will in this situation be better to shoot all the 3 sequences with the setting you recomend so as not to distor the coherence of the other colours or "look" of the flowers?
And if this situation is going to repeat all along the project althoug in other scenarios (that means: in which as well the same red cow skates trough the scene just for a moment and (in all of them i want the cow to look naturalistic and not like an ambulance)) shouldnt it be better to just work the whole project with the setting you recomend?
Thanks for the patience of reading sucha a long thread..i guess it was the only way to xpress my question in a more general way.
Re: RED This camera loves reds!.
If you bias the chroma phase to -4, you will shift everything else to green. The hot reds and yellows from the DVX100/a are easily corrected by adjusting the color curves in your favorite NLE. In Vegas, select the red channel and drop the level by about 1/3. This kills the fluorescent reds and doesn't affect the other colors adversly.
Ken
If you bias the chroma phase to -4, you will shift everything else to green. The hot reds and yellows from the DVX100/a are easily corrected by adjusting the color curves in your favorite NLE. In Vegas, select the red channel and drop the level by about 1/3. This kills the fluorescent reds and doesn't affect the other colors adversly.
Ken
Re: RED This camera loves reds!.
Pardon for resurrecting an old thread (better than posting it as a new one I believe, anyway).
[quote author=shai link=board=Events;num=1078859368;start=0#2 date=03/09/04 at 15:54:45]video doesn't like red, it's a well known fact.
it's almost a default in my camera, to set matrix to normal and take chroma level to -3. it helps in most cases. [/quote]
(I have a _PAL_ DVX100, if that makes any difference here in this topic.)
Of course testing with a monitor is mandatory here, but as a basic conceptual line do you suggest to apply these settings only when evident red areas are (around and likely to appear) in the frame?
Or even just for the red component of any colour which has a red component?
Thanks for any advice,
Nicola
P.S.:
As for this
[quote author=MichaelP link=board=Events;num=1078859368;start=0#3 date=03/09/04 at 18:31:00]On a waveform vectorscope, the chroma phase needs to be set to -4 to align the reds properly which will help. Turn off the cine matrix type settings which warms up the image as well. [/quote]
I understand that
[quote author=kplo link=board=Events;num=1078859368;start=0#7 date=05/10/04 at 21:40:34]If you bias the chroma phase to -4, you will shift everything else to green. The hot reds and yellows from the DVX100/a are easily corrected by adjusting the color curves in your favorite NLE. In Vegas, select the red channel and drop the level by about 1/3. This kills the fluorescent reds and doesn't affect the other colors adversly.
Ken[/quote]
approach which might permit the use of the cine-like or fluo matrix even when reds are in... any opinion on which approach is the cleanest? what if transfer to film has to be considered as possible? (and with respect to this point, I'll go and make a search for the thin/thick discussions in the group)
Pardon for resurrecting an old thread (better than posting it as a new one I believe, anyway).
[quote author=shai link=board=Events;num=1078859368;start=0#2 date=03/09/04 at 15:54:45]video doesn't like red, it's a well known fact.
it's almost a default in my camera, to set matrix to normal and take chroma level to -3. it helps in most cases. [/quote]
(I have a _PAL_ DVX100, if that makes any difference here in this topic.)
Of course testing with a monitor is mandatory here, but as a basic conceptual line do you suggest to apply these settings only when evident red areas are (around and likely to appear) in the frame?
Or even just for the red component of any colour which has a red component?
Thanks for any advice,
Nicola
P.S.:
As for this
[quote author=MichaelP link=board=Events;num=1078859368;start=0#3 date=03/09/04 at 18:31:00]On a waveform vectorscope, the chroma phase needs to be set to -4 to align the reds properly which will help. Turn off the cine matrix type settings which warms up the image as well. [/quote]
I understand that
[quote author=kplo link=board=Events;num=1078859368;start=0#7 date=05/10/04 at 21:40:34]If you bias the chroma phase to -4, you will shift everything else to green. The hot reds and yellows from the DVX100/a are easily corrected by adjusting the color curves in your favorite NLE. In Vegas, select the red channel and drop the level by about 1/3. This kills the fluorescent reds and doesn't affect the other colors adversly.
Ken[/quote]
approach which might permit the use of the cine-like or fluo matrix even when reds are in... any opinion on which approach is the cleanest? what if transfer to film has to be considered as possible? (and with respect to this point, I'll go and make a search for the thin/thick discussions in the group)