Pierre
Forum Replies Created
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oh yeah, Peter Gray.
ofcourse.
He’s good.
thanks. -
Bob you’re a crazy guy.
When I need accurate color I rent a BVM series Sony just like I did last week when I Dp’d an HD short. I had to explain/justify the cost of the BVM to the producer who asked why we couldn’t use the cheaper 26 inch Panasonic native HD monitor that I own for my edit suite.
My reasons were the same as yours. Accurate Color.I use the 26″ Panasonic in unison with a waveform/vectroscope to get ME close enough (After I’ve shot the material) before I send the material on to a post house that will bump it up to HD-CAM SR and do the final online edit and color correct.
I do however use my Sony XBR-970 and believe that it’s a good enough monitor for a “wow” CLIENT MONITOR. I know “good enough” is subjective.
My question is what’s the best way to get my XBR-970 AS ACCURATE AS POSSIBLE.
What about this guy or someone like this?
https://mysite.verizon.net/res8nubd/6500kcalibrations2222222/index.html -
No I’m not kidding about the consumer XBR stuff. I think the picture beats the pants off of my 26″ “professional” HD LCD.
I know it’s not a professional monitor but the picture is INCREDIBLE.
there is also, hue, chroma, brightness and contrast controls that would enable me to adjust the picture to a cbs color bars.Why couldn’t I use a Wratten 47B dark blue photographic filter (for blue only) since the XBR doesn’t have that function.
I’m sending the color bars from AJA Kona 3 SDI out to a AJA Hi5 (SDI to HDMI) convertor.
I know this isn’t the perfect solution (a Sony BVM would be… but I can’t afford that). I’m just trying to get it as calibrated as possible and based on my tests so far it’s closer than it was in color reproduction.
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Yeah I’m concerned with the low light situation and the pro-35mm adapter, but I really want a shallow DOF. If our location was a little bigger then I’d go for a set of digi-primes and utilize space/light to acheive DOF.
I really really don’t want this to look like a low budget video production (even though that’s exactly what it is). We already have other things working against us… for instance.
One of the rooms we’re shooting in is ENTIRELY WHITE! And further more there isn’t really an “art dept” to assist in helping with set dressing to lessen the ugliness.
So my tactic is to utilize shallow DOF to ‘hide’ the ugly. I’ll also try and get out of the wide shots and into the tighter ones as quickly as possible.
Basically I feel the Pro-35mm is going to help me more than it hurts me. I can overlight a bit and then use ND to bring it back down.
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We were thinking of coming out of the Varicam HD-SDI straight to disk for a higher quality shot. The problem is it’s going to cost us more to do that… and I don’t know if the quality difference is enough to justify the cost?
It’s about a 15-20 second sequence of a boy suspended in outer space. the sun and the stars are in the background… there is very little movement.
The CG artist is pretty talented, so my gut is that it’s going to look pretty darn good.
thoughts?
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yes. so ONLY capturing from HD-SDI… no tape at all.
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Do you know anyone in Los Angeles that could assist me in getting the camera colors, menus dialed in prior to the shoot. We can’t afford a DIT to have on set every day.
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sounds great! Now if I could only figure out how to make that happen. Letterbox is fine (as long as the picture looks normal).
I’ll paypal someone $25 bucks if they’ll take 15 minutes to spell it out in GREAT detail so once i’m in Compressor I can follow your instructions like A,B,C School. I know this might sound a little nuts, but I can’t seem to figure out how to make this picture look right.
anyone?
You can email me directly at: doondoon@mac.comthank you!
Michael -
SORRY!
NOT ONLY DID I MIS-TYPE MY ORIGINAL EMAIL BUT THEN I MIS-READ ENGE’S POST.
Yes, (1).
Not, (7).
2:37:1
my fault
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Well the footage was originally shot on the Viper Filmstream and I’ve been told that the aspect ratio as not 2:35:1 but instead it’s 2:37:1.
It seems like the two aspect ratios are very close. Anyone?