Problem with color range during capture.

[Bouncing Account needs new email address]

Uncooperative “stage lighting” has been a problem for shooters since… forever.

If the shooter(s) didn’t make WB adjustments (as much as possible) during the event, an “all red” lighting situation is about as BAD a condition as can occur.

The “detail” (resolution) in a video camera is mostly contained in the GREEN “channel”.

Since “all-red” lighting means an almost total ABSENCE of green… you’re going to have diffuculty extracting any kind of usable image (details) out of the footage.

A learning experience for all.

[David Jones]

Check your waveform monitor/vector scope to see whats going on.

[Ricardo Tabosa]

In vectorscope reading, all the spectrum is saturated red. It will be a hard color correction process, i know.
But my main question is, why does the capture and playing distort the red areas with a huge compression and leave the blues and greens intact (without losses in the preview). This only happens while the file is captured to disc, once is outputed to a tape (in this case DV) the image in television is equal to the original (an horrible red experience, but a nice dv picture).
When playing the shot in question inside final cut and even with quicktime player, it’s like a small mpeg1 file extrapolated to full frame size.
I even try capture with IMovie and have the same problem, so it’s not only a Final Cut problem dealing with extreme red saturation, it’s something else related with DV color (or firewire data transfer??) space that doesn’t affect blue or green.

Peraphs repeting the capture with components change something but i don’t have that board in this studio.

Thanks both for the contribuition, i will keep searching for a solution.

Best reggards,
Ricardo Tab