Scene files
- Thread starter Deacon
- Start date
Yes, it has been discussed at great length. Do you have Barry Green's DVX book? It'll explain what all the settings do. Tweaking those settings allows you to create different types of images (color, saturation, etc.). The factory settings get you started, but I have found most of them less than useful (I have never used "Spark"). Just remember, once you have created a look you like (and you need to do that with the scene file wheel set on a file you don't mind losing), you need to name it and save it so that you don't lose it when you turn the camera off.
Here's a great thread that has quite a few good scene file settings to play with:
Here's a great thread that has quite a few good scene file settings to play with:
DVX Scene Settings - In Camera Looks
I was very impressed with the recent posts by fevercity's Scene Setting - In Camera looks. I know others have posted similar settings in the past, but finding them is a job and a half. So I'm creating this sticky for the posting/discussion of these In Camera Looks and how to achieve them. I'll...
www.dvxuser.com
Joshua Provost
Veteran
The scene files are very helpful, and remember that everything is customizable, including the scene file name which is displayed on screen. This is helpful when you want to shoot some footage in 24p, some in 30p, and some in 60i, if you have certain shots that you want to make slow-motion in post. You can customize three of your scene files to have identical settings, except they can be 24p, 30p, and 60i, and you can rename them. This is very convenient, so you don't worry about changing these settings on set.
Which is why I've saved over almost all of them. At this point, I think I have one scene file left that's even close to one of the factory presets (F5, 24P). Even that one has been tweaked, but I use my others more often. I have a setting for 30P that matches one of my 24Pa settings (allows me to do slow-mo effects for 24Pa). I also keep one 30i setting. Everything else is 24Pa.
NoNoob
Carbonite Member
Had to explain Scene Files to a group of college students and, half way in, I realized I was talking to a wall instead.
The stupefied looks I was getting told me I had to come up with something else that was more effective.
Thank goodness for marker boards!
I drew a square on the roll-around board. Put a wavy line across it from left to right.
Told them that was a 'histogram' - they all understood what that was.
Blacks down at one end, whites up at the other end (0-256, effectively).
Cool, we're on the same page.
I turned the roll-around sideways so it was beam on to them.
Then I went to the chalkboard and drew a square about the same size.
No wavy line this time; just a bunch of vertical lines.
"This is the DEPTH of the histogram." (in effect, bear with me.)
There can be different depths to this graph- 4, 8, 16, 24, etc.
At that point I went to what would be the fourth corner- stuck my arms out to touch finger tips to the chalkboard and roll around graphs on end---- this is the depth and breadth of what those adjustments let you do.
Group hug.
It is way oversimplifying the variables contained within the scene files- but there is DEFINITELY magic in them.
Think 'depth' and 'breadth', and the ability to nudge subtle (or dramatic) differences in how the camera 'sees' & 'records' the light.
EXPERIMENT- build a diorama of many different colored things on a flat board, light it evenly, then mess around with the settings, burning footage as you do (and- very important- making written notations for each one along the way).
Dump that to your NLE and make split screen comparisons (or, what the heck, four up splits).
That way you can find settings that appeal to your eye, quickly.
You'll end up with a book of files (at least, that's what I've done).
Like it's been said here (better) by others- you end up with one or two basic files you use all the time- for indoor, outdoor, and/or special effects.
The matching of 30P and 24P for slo-mo is TRICK. *I don't know a lot of people who know or do that- and it's pretty easy to pull off too.
When (and if) you embrace that big cube I described above- just think painterly thoughts as you dial in the presets of a scene file. It's ART man.
Barry's book goes into great DEPTH (there I go again) on the subject and there's a great segment in the DVD showing many of the differences.
Get the book- it's worth every penny. (even at $100 it's a bonus. it'll save you hundreds of hours of messing around!!)
The stupefied looks I was getting told me I had to come up with something else that was more effective.
Thank goodness for marker boards!
I drew a square on the roll-around board. Put a wavy line across it from left to right.
Told them that was a 'histogram' - they all understood what that was.
Blacks down at one end, whites up at the other end (0-256, effectively).
Cool, we're on the same page.
I turned the roll-around sideways so it was beam on to them.
Then I went to the chalkboard and drew a square about the same size.
No wavy line this time; just a bunch of vertical lines.
"This is the DEPTH of the histogram." (in effect, bear with me.)
There can be different depths to this graph- 4, 8, 16, 24, etc.
At that point I went to what would be the fourth corner- stuck my arms out to touch finger tips to the chalkboard and roll around graphs on end---- this is the depth and breadth of what those adjustments let you do.
Group hug.
It is way oversimplifying the variables contained within the scene files- but there is DEFINITELY magic in them.
Think 'depth' and 'breadth', and the ability to nudge subtle (or dramatic) differences in how the camera 'sees' & 'records' the light.
EXPERIMENT- build a diorama of many different colored things on a flat board, light it evenly, then mess around with the settings, burning footage as you do (and- very important- making written notations for each one along the way).
Dump that to your NLE and make split screen comparisons (or, what the heck, four up splits).
That way you can find settings that appeal to your eye, quickly.
You'll end up with a book of files (at least, that's what I've done).
Like it's been said here (better) by others- you end up with one or two basic files you use all the time- for indoor, outdoor, and/or special effects.
The matching of 30P and 24P for slo-mo is TRICK. *I don't know a lot of people who know or do that- and it's pretty easy to pull off too.
When (and if) you embrace that big cube I described above- just think painterly thoughts as you dial in the presets of a scene file. It's ART man.
Barry's book goes into great DEPTH (there I go again) on the subject and there's a great segment in the DVD showing many of the differences.
Get the book- it's worth every penny. (even at $100 it's a bonus. it'll save you hundreds of hours of messing around!!)