[Bob Hayes]

I guess it might be a huge number. I always wonder if there is a post on an interesting thread a month after I stopped checking the area. On other sites I click on View New Posts and then check out the ones that interest me. I then clear the new posts and start again. I’m just curious if it is available.

[Bob Hayes]

I was wondering if there was a way I could see what ALL the forums have that is new as opposed to each forum individually.

[Bob Hayes]

Thanks again. Funny the VariCamp people say to do it in Video rec. I think I miss posted one element. I have been uusing the CDM at 1.85x but what would happen if I set the magnification at 1.65% would forcing the the matrix wider give me more color?

Also I when I switch from Video rec to Film rec the colors that were nailed in the boxes at 1.85% are now half way to the boxes. If I understand corectly you say it is OK to push the Mtrix wider if I can still maintain symetry.

[Bob Hayes]

John

Thanks for the quick response. Since I have you on the line. I have been setting my DSC chart up at 1.85 x in Video Rec with knee off. When I go to Film Rec the dsc numbers really crush. So I have been wondering if I go to 2x will I get high color saturation? Will I get noise? Can I get away with using the DSC chart with the camera in Film Rec? Which VariCamp says is a really no no?

[Bob Hayes]

When shooting HD aerials I think it is a good idea to take off roll a bit and land to check out how everything is worked. A little playback goes a long way.

[Bob Hayes]

Buying a DSC chart the 24 color model with added flesh tones is an amazing tool. You will need a waveform and a vector scope. It takes a while to pick up how to use these tools but the effort is worth it. It will tell you exactly how your cameras are behaving.

[Bob Hayes]

That is the same issue I am dealing with now. I am shooting a television series with the VariCam. I started shooting at .45 Gamma and 500 Dynamic Level. I feel when looking at the monitors it seems washed out with no flesh tones. When I went to color correct the image again looked washed out and flat. I was worried. The color timer was not. With minor tweaks he dialed in exactly the look I wanted. The color timing session took half the time I thought it would. He felt the flat image I was giving him gave him the most latitude to dial it in.

I guess I’m the kind of guy who can’t leave well enough alone. I want the show to look great which it does. I want the color timer to have the best chance to get the maximum out of my footage which he does. But I also feel the closer I get to what the final product will look like the better the final product. I have changed my set ups to .50 Gamma and a 400 Dynamic level to try to get more color depth in the Gamma. I felt like that was the kind of tweaks he was doing in the bay. This doesn’t seem to be a problem until I get into high contrast exteriors. How are you VariCam shooters setting up your cameras when you don’t plan to have high end tape to tape correction?

[Bob Hayes]

Thanls for the help

[Bob Hayes]

Yes I am aware of that. But loosing my off sets is not the problem. The problem is no mater what I do AWB on or off. The gain settings come up as zero. If I white balance under sodium vapor the gain is 0-0-0. If I white balance in deep shadow the gain is 0-0-0. Even though the camera has drastically adjusted the gain it always registers as 0-0-0. It makes it very hard to know what the camera is doing.

[Bob Hayes]

I