[Eran Hayden]

i had a similar question, but in regards to input settings for capture from a sony beta SP deck with analog component outputs. we have our systems standardized to use the “SMPTE/EBU N10” setting for component capture, however i’ve noticed that this setting results in higher color saturation levels than the “beta” setting does.

the “beta” setting appears more natural and more closely resembles the picture i see when i view the beta SP composite output signal on my client monitor. footage digitized at the “Beta” setting also matches better when intercut with footage captured from the same Beta SP source tape(s) on a Sony digibeta deck using SDI input to the Kona card.

i guess a little extra color saturation isn’t necessarily a bad thing for offline edits (we re-capture via SDI for on-line, anyway) but the skin tones can sometimes look a little orange and i have gotten notes to color correct (lower saturation) when interview bites captured at SDI end up nearby bites captured at the component “SMPTE/EBU N10” setting.

thoughts or suggestions anyone?

[Eran Hayden]

@Jon Barrie

thanks for the tip on using the compound aritimetic filter. i had a similar
problem and that filter works way better than everything else i tried. most
other filters added an unacceptable amount of grain.

i’m using final cut pro, by the way, so it’s not just premiere users who are
finding your information helpful!