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Scene setting for a concert in a BAR/CLUB
- Thread starter CAmerican
- Start date
Joshua Provost
Veteran
Are you going to be able to get your camera in there to test? I would think that getting proper exposure might be a problem if there are wide swings in the amount of light used.
Are you going to be able to get someone to turn on the uncolored lights only, so you can white balance properly?
What are you going for stylistically? Interlaced gets you more light sensitivity... but it's interlaced.
Are you planning on using the zoom at all? Full wide? Full zoom? A mix?
Are you going to be able to get someone to turn on the uncolored lights only, so you can white balance properly?
What are you going for stylistically? Interlaced gets you more light sensitivity... but it's interlaced.
Are you planning on using the zoom at all? Full wide? Full zoom? A mix?
This is my first time filming a band in a bar, so I'm really looking to experiment. Meaning, zoom, wide, depth of field, etc.
Is there any basic scene setting I should be aware of, that is truly a "gotcha" for this situation versus filming with standard lighting indoors and out?
Thanks.
Is there any basic scene setting I should be aware of, that is truly a "gotcha" for this situation versus filming with standard lighting indoors and out?
Thanks.
Joshua Provost
Veteran
In order to get accurate white balance, you need to get the lighting guy to turn off any colored lights and turn up just the white/uncolored lights, and white balance to those lights, using proper white balancing procedures.
If you can't get this scenario to properly white balance, you can safely assume that the lights are somewhere near 3200k, so try that preset. Check out the 5600k preset as well, see which one you like, but 3200k will probably match the lights.
My biggest concern is getting decent exposure. When the DVX is at full wide, the iris will open all the way to F1.7, but at full zoom it closes down to F2.8. That's 1.5 stops of light, a big difference. If you keep the cameras near full wide (between Z00 and Z25), you can keep the iris at F1.7 and really soak up the light. If you start using the zoom, you'll want to be stopped down to F2.8 to keep the brightness consistent through the zoom range, and you might not be able to get a good exposure. Something to think about.
If you want to have the zoom available stylistically, then you'll probably have to use the GAIN setting. Try out the gain to see what tolerance you have to it. I'm cool with plenty of GAIN on the DVX, but a lot of people think it's too noisy even without GAIN.
As for the scene files, DETAIL and CORING are generally done to taste, and to combat noise. A high DETAIL will sharpen up your noise and make it stand out. CORING works the other way, when it's turned up, it does noise reduction and fights the noise. Personally, I am not a fan of my camera adding artifical sharpening or digital noise reduction, so I have been shooting with both of these settings all the way at -7 recently and getting great results. However, if you have to use gain and the noise is too much for you, you can increase the CORING and it will fight off some of the noise.
You're going to see some very saturated colors when the lights come on, and you can clip out single color channels even if overall you aren't getting zebras on your display. To be safe, in this situation, I would reduce the COLOR LEVEL significantly, and use the NORMAL MATRIX. If it comes out too desaturated, you can add some back in post.
MASTER PEDESTAL is a black point calibration setting, and it should probably be at -5 or -6 under most shooting circumstances.
For GAMMA, I would probably use HIGH gamma and LOW KNEE to let you see into the shadows a bit and get a low contrast curves going to fight against the high contrast that will be present in the scene. The lights on stage can make certain areas very bright, so I'd avoid the CINE GAMMA's because they have no knee protection.
If you can't get this scenario to properly white balance, you can safely assume that the lights are somewhere near 3200k, so try that preset. Check out the 5600k preset as well, see which one you like, but 3200k will probably match the lights.
My biggest concern is getting decent exposure. When the DVX is at full wide, the iris will open all the way to F1.7, but at full zoom it closes down to F2.8. That's 1.5 stops of light, a big difference. If you keep the cameras near full wide (between Z00 and Z25), you can keep the iris at F1.7 and really soak up the light. If you start using the zoom, you'll want to be stopped down to F2.8 to keep the brightness consistent through the zoom range, and you might not be able to get a good exposure. Something to think about.
If you want to have the zoom available stylistically, then you'll probably have to use the GAIN setting. Try out the gain to see what tolerance you have to it. I'm cool with plenty of GAIN on the DVX, but a lot of people think it's too noisy even without GAIN.
As for the scene files, DETAIL and CORING are generally done to taste, and to combat noise. A high DETAIL will sharpen up your noise and make it stand out. CORING works the other way, when it's turned up, it does noise reduction and fights the noise. Personally, I am not a fan of my camera adding artifical sharpening or digital noise reduction, so I have been shooting with both of these settings all the way at -7 recently and getting great results. However, if you have to use gain and the noise is too much for you, you can increase the CORING and it will fight off some of the noise.
You're going to see some very saturated colors when the lights come on, and you can clip out single color channels even if overall you aren't getting zebras on your display. To be safe, in this situation, I would reduce the COLOR LEVEL significantly, and use the NORMAL MATRIX. If it comes out too desaturated, you can add some back in post.
MASTER PEDESTAL is a black point calibration setting, and it should probably be at -5 or -6 under most shooting circumstances.
For GAMMA, I would probably use HIGH gamma and LOW KNEE to let you see into the shadows a bit and get a low contrast curves going to fight against the high contrast that will be present in the scene. The lights on stage can make certain areas very bright, so I'd avoid the CINE GAMMA's because they have no knee protection.