[Pete Burger]

As far as I know, this only affects photos, since it is a profile mainly for print purposes and was originally developed to achieve better matching between RGB pictures and CMYK prints.

[Pete Burger]

Take a look at this recent post:

https://forums.creativecow.net/readpost/280/3658

Dylan Hargreaves has an other experience with matching footage. Maybe he’s got other advice

[Pete Burger]

Thanks again Chris!

Seems to be the way to do it! Manual w/b + colour chart + Colour Finesse. Will also take a look at Colorista II, recommended by Lance and get a fdl, as Peter suggested.

Thanks to everyone! I really appreciate your contributions!

[Pete Burger]

Thanks, Peter!

Will try that. FD-L filters are the ones, that have a slight magneta tone, aren’t they?

[Pete Burger]

Thanks, Chris!

I’ve just taken a look at the plugin and was asking myself, why I didn’t use it before. I will test it with our next project. Seems to be very powerful.

[Pete Burger]

Thanks, Lance!

I know Colorista and quite work a lot with it. I wasn’t aware of the new features in Colorista II. Sounds fantastic! I will check it out.

[Pete Burger]

Thanks, Joe!

Obviously beeing too concentrated on writing understandable english, I forgot to mention, that trying to gel the light-sources was one of our failures…
So you’re pointing out our big problem. And that is: To find out which correction-gel to put on the lamps, since it seems that every brand of energy-savers has it’s own kind of green. Is there a more or less correct way of measuring the color temperature?

A second (minor) problem is: When shooting in large rooms (like hotel-lobbys, restaurants etc.) there are so many lights that cast (different) color into the shot. We’d have to carry a truck of gels with us… So our only solution til now is to frame the shot as close as possible and do w/b every time there is a significant change of colour visible.

[Pete Burger]

I just want to thank you for caring about the ethics! Sadly enough, that’s not a common thing.

In my beginnings – just like most of us guys, who work in the creative field – I had some good experience with unpayed work on “other peoples projects” and some… well, not so good experience.

What I learned, is not take it for granted, if someone cares about you and not just treats you like a workhorse.

Like Joe wrote, if you make your point clear upfront and give your assistant(s) the opportunity to learn something, both sides will be happy!

So, thanks again and good luck!

[Pete Burger]

I have no experience with the Panasonic, but had to mix progressive HDV footage of a Sony V1 and footage of a 7D in some projects recently, which was quite a lot of post-production work and everything but easy.
IMHO it can be done and will look o.K., but in the end, we decided to get another DSLR (the T2i) next to the 7D for our next projects.
I edited the projects and then color-correct and match the footage completely in After Effects. The blending modes of AE (especially “soft light”) helped a lot, to get the camcorder footage look more like the DSLR footage.
More than once, I had to break down the picture quality of the Canon footage, to match the Sony footage, and that was really … um… annoying.
I think the Panasonic footage will look closer to the DSLR footage, than the Sony HDV footage does, but nevertheless will lead to massive post-work and eventually in a compromise in picture quality.

As mentioned before, with proper planning (close-ups with the DSLR, wider shots with the Panasonic, etc…) you’d get away with lesser work in post, but still have a lot of work to do.

[Pete Burger]

Even on a (SD) TV screen you’d be able to see more, than on that tiny LCD on your DSLR. Especially focussing will be a lot easier on a bigger screen, even if it has a lower resolution.
It’s not only res, that counts, it’s also how color shows up etc…

At least, that’s what I think.