HPX2000 Scene Files

[Noah Kadner]

A good matte box, ND and ND grad filters and a polarizer should be considered essential to getting good stuff above and beyond the in-camera settings.

-Noah

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[Pierre]

I agree.
We’ve got an Arri Matte Box /follow focus and a full set of filters.

I’m just looking to get the best out of the camera in terms of the gamma settings, DRS and colors as well.

[Noah Kadner]

I’d get in there with the waveform and vectorscope as well. I’ve found in general a neutral setting with the right filters results in a much more usable image than trying to fit a scene into someone else’s scene file.

Noah

Check out My FCP Blog and my new RED Blog. Unlock the secrets of the DVX100, HVX200 and Apple Color.
Now featuring the Sony EX1 Guidebook, DVD Studio Pro and Sound for Film and TV.
https://www.callboxlive.com

[Jeremy Garchow]

Stay away from the DRS unless oyu really need it. It is quite an amazing little switch, but it tends to add a bit of noise. Use only when necessary.

It’s good for shooting indoors with bright windows.

[Pierre]

Can you tell me more about your experience with DRS and noise. What were your shooting conditions?
Panasonic is making quite a bid deal out of DRS… I figured it was worth checking out.

Based on some down and dirty preliminary tests today I can’t tell if I like DRS or not. As far as I can tell it makes the whole shot a little milky. I certainly see more detail come out in the shadow when DRS is activated, but then I immediately want to drop the master pedestal to make the black shadows darker. When I drop the master pedestal most of the highlights are still preserved from DRS (which is good) but I’m not sure if the overall look of DRS is pleasing to me. I’m waiting for a CRT monitor so I can take a closer look.

Regarding the noise:
I’m going to have a ton of light (Wide Exterior daytime landscapes)… so I’m figuring that with all that light there will be less noise (even with DRS on). Also, we’re shooting 720P (not 1080P) and I was under the impression that less noise would be visible at a lower resolution.

[Jan Crittenden livingston]

Hi,

Think of the DRS as the Easy Button for controlling wide dynamic range in a run and gun scenario. No Easy Button is going to be a replacement for a talented eye and a capable DIT. The DRS can add noise in perfect scenes but can make impossible to get scenes possible. Those scenes are the ones that have about 11 stops or more of dynamic range. The algorithm runs a comparative analysis from sector to sector on the picture. Use only as necessary.

We did post a bunch of new scene files for the 2000 over on the panasonic.com/broadcast site. Scroll down the page there is a link on the right hand side.

Have fun,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Pierre]

Thanks Jan.

yeah I found those scene files earlier today. We’re going to try a couple out as our base look and then salt to taste from there.

One more question since you’re here…. We’re shooting multiple cameras. Four HPX2000’s and MAYBE one HPX500. The producers are wanting to save money which is why we might not add another 2000.

My question is: in terms of dynamic range how do the two cameras compare. I have read that the 500 is about 10 stops. What about the HPX2000? You mentioned 11 stops.

If set up properly will these two cameras match? (both shooting DVCPRO 720P/N).

[Jan Crittenden livingston]

[Michael Pierre] “My question is: in terms of dynamic range how do the two cameras compare. I have read that the 500 is about 10 stops. What about the HPX2000? You mentioned 11 stops.).”

I mentioned the scene being 11 stops, that is where DRS can come in handy. The 500 is a little more low light sensitive without gain as it has bigger pixels and the range between the two cameras is similar unless you look at the digital super gain and the DRS.

[Michael Pierre] “If set up properly will these two cameras match? (both shooting DVCPRO 720P/N).”

They may be similar but they won’t be the same, there a a lot of controls on the 2000 that are simply not there in the 500, so depending on the look you choose, you may not even get close with the 500. You might during post though.

The 2000 is sharper, but you would expect that for a camera that costs $13000 more, so don’t be shooting the smae guy at different angles and expect them to cut flawlessly. Use the 500 for the cut-aways and b-roll stuff.

Hope that helps,

Jan

Jan Crittenden Livingston
Product Manager, HPX500, HVX200, DVX100
Panasonic Broadcast & TV Systems

[Jeremy Garchow]

I agree with Jan and also Noah.

Get your self a CamAlign/Chroma Du Monde chart with a waveform and vectorscope chart to get your colors close. You won’t fix the difference in resolution, but if you get the colors close, the resolution will matter a bit less. I matched an HVX200 and HPX2000 pretty decently, and you should be able to get even closer if you have better glass on the 500. The master Ped and gamma settings will help a lot, and then fool with the matrix in the 2000 to match up to the 200.

Also, you can also shoot the 2000 in DVCPro HD instead of AVC-I which can ‘help’ in matching the look, but you won’t be getting the most out of the 2000.

[John Cummings]

Anyone know if these scene files will work with an HDX900?

J Cummings
DP/Chicago
http://www.cameralogic.tv
HDX-900/HDW-730S/DXC-D50