[Mark Thompson]

I had the same problem in cc 2018, when I was using a new build pc.

Then I upgraded to CC 2019 and the problem just seemed to go away. Unfortunately I never made a note of what I did exactly that fixed it. I should say I also upgraded to the latest CUDA driver. At the moment I don’t see this problem at all but I was furious when it happened

Stretching my brain a bit, I think I had this problem in CC 2017 – it also just went away.

What I did was get to Lumetri from the Effects Panel and so I just worked around the problem for a while.

So, I suggest upgrading to the latest Nvidia driver.
Just use Lumetri from the Effects panel for a while. They say the Lumetri Panel is just a remote control anway.

Now why might this be a fix? It could be that there is some workspace setting that is not getting initialized properly upon first use. However by using Lumetri for a while it does get initialized and then you can use the Color panel.
Also do a “reset to saved workspace”.

Sorry it is not a more definite answer

[Mark Thompson]

I think that is, or is at least related to, so called “blue runaway”. Not 100% sure as the picture has a lot of blue but is not exclusively so in the runaway areas.

It is the same as you see when people record the blue lights of police cars on news.

I was at a talk when they described what to do but it was the end of day …

The trick is to use the “matrix settings” and desensitize the camera to Blue.

Sorry I don’t have time to do a little tutorial but there are a few tutorials on the web, at least that discuss matrix settings in general. No guarantees and you will have to experiment at an event with the problem lighting.
So just consider this a hint at what to try.

Another suggestion is to use ND filters. Or there may be a filter that tones down blue.

For Sony cameras look for a profile that is suitable for theatre. Some of the better distributors publish profiles. Abelcine comes to mind but there are others.

[Mark Thompson]

Hi,
I pretty much only deal with Mxf files and I’ve encountered no problems so far. I upgraded to the very latest (Mojave) and all seems fine.

Any more information on what type of media it is?

thanks

[Mark Thompson]

I managed to get a hands-on for a Z280. It looked very nice.
It was in a relatively dark room and I was looking at dark areas, I could not see much grain – but then again you don’t in the viewfinder.

I hope to get another look in a few weeks.

To those seeing grain, are you filming inside or outside?
Are you seeing grain on both?

[Mark Thompson]

Rick,
thanks for the reply. I’m glad that you don’t consider it a major issue!

I shoot mainly on Sony gear and the advice they give seems to be “light your scene” and then use gray cards and zebras to make sure exposure is set correctly. Of course the people I talk to are sales and consultants – not so many DP.

I was at another meeting (mainly broadcast camera people) where one topic discussed was their lack of enthusiasm for the dslr cameras. Not that there was anything wrong with the camera but rather those cameras are used fully open and producers like that look. So they feel pressured to shoot with the lens wide open even though they don’t feel it gives them the best picture.

[Mark Thompson]

I see what you mean. The green screen is quite noisy as well but as you are getting a good key that is of no concern (as you say).

There is a noise setting in the paint menu that is on and medium by default. You might want to try bumping that up to high.
The picture is HD, you might want to try filming in UHD and down-scaling in the NLE.

If you are keeping the camera, one thing to try is to have a large soft-box. It looks though there has been a great job on the lighting and it seems very uniform but it appears to me as being a bit dark.

In the main studio I go to they plug in a 42 inch TV into the HDMI port. That really shows up the noise and can guide you in lighting.

[Mark Thompson]

Hi,
I’m mainly on Premiere Pro these days and have had a little luck with that.
I would suggest loading up to YouTube and then display on your TV.
When you upload YouTube will tell you whether it has recognized it as HDR. But be patient it uploads the lower resolutions first and it might take 30 minutes before you can see it.

Upload in H.264. Yes it should be H.265 and it may well be soon but YouTube seems to like H.264 for now.

The challenge is to get the right Metadata with it. PPro seems to do that at the moment (the 2018 release).

If that fails YouTube publish some instructions.
Start here: https://support.google.com/youtube/answer/7126552?hl=en

There is a better note that tells you how to add the correct metadata (MaxFALL, MaxCLL, or Master Display metadata)

If that fails I’m afraid it is FFMPEG

[Mark Thompson]

Hi,

some good stuff here: https://vimeo.com/290168190
and Red Shark have been gushing about it:
https://www.redsharknews.com/production/item/5715-pxw-z280-back-to-the-future-with-sony-s-new-3-sensor-masterpiece

You may have a faulty unit, otherwise getting exposure right is difficult on Sony cameras.
If you would like to post some footage I would be interested in having a look.

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[Mark Thompson]

Can you get Catalyst Browse and see what it thinks the clip is? Or the xml file that goes with the .mxf?

The only other thing I can think of is that he is looking at the proxy and not the essence but that would be hard to do.

The FS7 is regularly used for your type of project.

Perhaps another idea is that it is under exposed footage?

[Mark Thompson]

I had a similar problem but not quite the same. I upgraded to the latest firmware (Aug/2018) and all the Audio went, even the internal mic. Sony withdrew that version but should have a new version out now (mid September).

The theory was that there was a problem in the upgrade process (not the upgrade itself). Sony helped me with a previous version and when that downgrade was complete – everything was fine.
So check which firmware version is on the camera.

I’m unconvinced of Sony’s explanation but as the camera works I’m not too motivated to explore further.