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true color
Hi all,
Ive been editing a doc with alot of different codecs, cameras and frame rates, Fun to be sure.
Two of the main cameras that were using are the sony fx1 HDV and the hvx200 DVCPRO hd.
I know that the hvx is preferred because the codec gets less compression.
They both look real nice but the footage that consistantly stands out is the HDV. The stuff shot on sunny days with slow or no camera movement. (I know it has its limits)
As well, final output is SD broadcast and DVD, not HD.The color really pops, more than the HVX.
The question is, is the color on the HVX actually more “true” than the FX1?
Does the fx1 somehow produce really yummy eyecandy type footage that isnt accurate.
Ive been slamming the HDV codec as being inferior, but now ive stoped till I figure out whats what. If the average joe says WOW!, that looks fantastic, isnt that the point.PS, the camereaman is the same and he’s experienced.
Thanx for your thoughts, Bruce -
4 Replies
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It all depends on how the cameras are set up. With Video Rec, the colors are more vibrant. With Film Rec the colors are a bit more muted as this gives more range of adjustments in color grading later.
Walter Biscardi, Jr.
https://www.biscardicreative.com
HD Editorial & Animation for Broadcast and independent productions.All Things Apple Podcast! https://cowcast.creativecow.net/all_things_apple/index.html
Read my blog! https://blogs.creativecow.net/WalterBiscardi
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Bruce,
Professional video is not normally shot with the camera settings at their most brilliant and saturated, but rather at settings that will provide the most latitude in post during color correction. So, camera original in the professional realm is not usually the “yummy” eye candy you ‘re describing. I’m sure that with a bit of added color saturation you will find that the DVCPro from the Panasonic camera will be every bit as pretty, if not prettier, than the HDV.
But, please tell me, why would anyone choose to shoot a project with different cameras? Please, don’t tell me it was done to save money, because the problems that decision creates in post far outweigh any cost savings when shooting.
David
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY™
A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.
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Thanx for the replies,
To answer Davids question, this is a privately funded Doc that has taken three years and a hand full of ‘almost but not quite’ producers.
It started out on sd hi8 (alot of night shot), Then went to early JVC HDV (really bad)
Alot of mistakes, like hd a-cam and sd b-cam.
Normally, it would be a “start over or no way” deal but the early footage is priceless, we have to use it.Know any tricks for workin the grainy look in with the HD look????
Bruce
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[brucedrummer] “Know any tricks for workin the grainy look in with the HD look????”
Once you’re in that situation I always say just go with the flow and edit for story without giving a thought to the different sources, because they’ll never match. Once your story is tight, then look into doing things like going B&W with certain shots or things of that nature that make it look like using different formats was a creative decision.
David Roth Weiss
Director/Editor
David Weiss Productions, Inc.
Los AngelesPOST-PRODUCTION WITHOUT THE USUAL INSANITY™
A forum host of Creative COW’s Business & Marketing, and Indie Film & Documentary forums.
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