Matching F900 and EX-1

[Noah Kadner]

I think there are some TV shows doing this. It’s a matter of having both cameras on calibrated monitors with waveforms until you get the settings as close as possible live then finesse in post.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!. Unlock the secrets of the 24p, HD and Final Cut Studio.
Now featuring the Sony EX1 Guidebook, Panasonic HVX200, and Panasonic DVX100.
https://www.callboxlive.com

[Jason Davenport]

There is a 3 part series on AbelCine tech website on matching a EX-3 to a Panasonic 3700.
There is only part one up yet, but you can learn about white shading and making sure the the WB presets match on both cameras.

https://blog.abelcine.com/2009/08/05/eng-essentials-white-shading-white-offsets/

[Tim Mccallister]

I would research Dante Spinotti shooting PUBLIC ENEMIES. They did exactly what you’re talking about on that film. The EX3 was their insert camera but they ended up shooting B or C camera with it as well.

Indie Filmmaker

[Noah Kadner]

I dunno- I think the results are more iffy on the big screen (and I hope no one will refer to Public Enemies as an example for digital, unless it’s a cautionary tale.) Anyways a better example of a more seamless match is the TV series Dexter which frequently mixes EX1 and EX3 with an F23.

Noah

Check out my book: RED: The Ultimate Guide to Using the Revolutionary Camera!. Unlock the secrets of the 24p, HD and Final Cut Studio.
Now featuring the Sony EX1 Guidebook, Panasonic HVX200, and Panasonic DVX100.
https://www.callboxlive.com

[Tim Mccallister]

I wasn’t supporting the film itself, or the technology choices it made. I only referred to it as a successful matching of two very different cameras. I would take Spinotti’s advice (if he has any to impart) before anyone else’s…the guy’s a master.

Indie Filmmaker

[Bill Paris]

Thanks Noah, Jason and Glenn…

The Abel Cine Tech white shading video was very helpful, I’ll look forward to the Gamma Set up video. My biggest concern is how the EX will handle high contrast. I’ll give it a shot and let you know what I discover.

Thanks again!

Bill Paris
Crew Hawaii Television

[Jason Davenport]

Your welcome. I would note that a movie is probably not the best recommendation on camera matching for a TV show. They are using film to tape type high dollar color correctors, used in film transfers. They have tons of time and money to spend on color correcting and matching. TV needs to be matched out of the can. IMO

[Tim Mccallister]

Yes, on films this is true (and especially true in Michael Mann’s case, trust me). However, regardless of post, camera/lense matching should always be stringent before a shoot, there’s really no reason for a DP not to get that right in pre-production.

Indie Filmmaker

[Joe Tyler]

I’ve matched an EX3 with a Cine Alta F-900, but only through the use of a Paintbox and the Fujinon 2/3″ lens adapter and identical lenses. I would not attempt with the ex1 because they don’t accept a paintbox.

We matched Fujinon lenses, The closest color match appeared shooting 1080 60i on all cameras, EX3 picture profiles turned off and I began painting from there.

The Clip values all had to be programmed to match the F-900

The EX3 is about 3 1/2 to 4 stops faster than the F-900. So the Depth of field will not even be close without ND filtration or a 35mm adapter to replace the 2/3″ adapter but then you have the differences in lensing.

I’m happy with the results, I’ll post the EX3 vs Cine alta as soon as the show airs.

http://www.killianthered.com
DP in the Washington DC Area
EX3 Owner

[Dave Jenkins]

Make sure the knee is set the same on both cameras. The EX1 & EX3 come with the knee & auto knee on.

Dajen Productions, Santa Barbara, CA
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