Punchy Saturated colors on 170?

[Steve Eisen]

Have you looked at the scene files you can download on Panasonic’s website?

https://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?storeId=11201&catalogId=13051&itemId=280234&catGroupId=34401&surfModel=AG-HPX170&displayTab=R

Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group

[Mike Jeffs]

I have Used the LUSH and VIVD scene files, Are these my best options?

Mike Jeffs
Video Coordinator
BYU-Idaho

[Steve Eisen]

There are no best options. You dial in the look you want from your camera. Proper monitoring is essential to achieve this look.

Steve Eisen
Eisen Video Productions
Vice President
Chicago Final Cut Pro Users Group

[Noah Kadner]

I’d really doubt that look is entirely achieved in camera. Sure they light and compose with an eye toward that effect but I’d guess a lot of it is brought to life in post during grading/color correction. That’s what you really need to master to get a high end look. Learn Apple Color, BMD DaVinci Resolve, etc.

Noah

Unlock the secrets of 24p, HD and Final Cut Studio with Call Box Training. Featuring the Canon 5D Mark II and 7D.

[Gary Adcock]

[Mike Jeffs] “I was Watching the PBS show Electric Company the new version, I really like the colors and saturation they achive with very little aux light, as most of it is shoot Outdoors.”

Many camera mfg’s allow access into the Color Matrix on many of the Pro and Prosumer cameras, this is where you go deep into the menu structure and modify the cameras ability to record chroma and luma.

Usually reserved for the high end, many cameras are now allowing users access into the heart their color science, since ALL cameras ship from the factory with colorimetry set well within the REC 709 specifications, chroma levels in most shipping HD cameras is usually between 65%- 75% of what is capable within the “Legal” SMPTE specs.

The same matrix controls allow users to correct color temperature or to modify color phase, whether compensating for camera issues or bias, to creating a brand new ” look” like you are referring too. This is often done Onset with highend cameras with a Paintbox or ECU (electronic control unit), that allows a video engineer or DIT remotely control the cameras colorimetry while viewing on external displays or scopes.

gary adcock
Studio37

Post and Production Workflow Consultant
Production and Post Stereographer
Chicago, IL

https://blogs.creativecow.net/24640