Color Saturation
The colors on my A1 seem a little bland to me. I am unsure which control to adjust to punch up the saturation a little. The posts I see with this camera do not look like the colors I am getting. Thanks for any help......
Newbie |
Disregard..... I RTFM and found what I was looking for...but any experience with changing these settings is still welcome.
|
Try changing the gamma to Cine2 and up the color gain to +10 or +20, and make sure the color matrix is set to Cine2. Try setting the knee (highlight compression) to low and put Black to middle or press. Maybe turn sharpness down to -3 too. Sometimes dropping the master ped to -3 or -4 can look nice if you like a more contrasty look.
Just a few tweaks for a generally pleasing picture in most situations. |
Color Gain
Just did a nature shoot. Turned up the color gain on the reds, and greens. Shot with the blacks on Press. Looks really nice, a lot better than out of the box IMO.
would love to show you guys some footage, I plan on capturing it by Tuesday. *e |
As a newcomer to all these adjustments (I had a GL-1 for over 5 years), I would welcome opinions on settings and a little real-world thoughts on what they do. I've read the manual and looked at Canon's Image Adjustment section on the website, but it's more technical than practical.
|
depending on wht type of filming you do, but in narrative, it is easier to CC clips that are a little flat in colors.
|
I'd agree with Jason about shooting flat. I shot 4 DVDs over the summer (with DVX100s). Two I tried to create the look in camera, and two I shot fairly "neutral" and pepped up in post.
With the first DVD I'd gone a little overboard with the crushed blacks. Initially I wanted to create a very contrasty look - but by the end I felt a much softer look was more appropriate. However, you get much better results crushing blacks in post than you do stretching them, so I had to choose between an image that was either more contrasty that I wanted; or rather noisy in the shadows. Personally, wherever you're going to do CC, I'd go for capturing the widest dynamic range possible - low knee, stretched blacks - and tweak it out in post. |
Quote:
Sometimes it's more appropriate to tweak the kelvin settings in the white balance to achieve the warmth you are after. |
Quote:
|
True words Mark. It's best to dial the look in when you setup the shoot. Post is usually meant to "fix" things. However, it's really hard (when dealing with 8bit compressed media) to get a computer to see what the camera couldn't put on the tape in the first place.
|
Let's put it another way. When dialing in a look within a camera, you working from a 4:2:2 10,12, or 14 bit master (depending on the internal A/D) and then laying that to tape. After which it's now an 8bit compressed copy. Which master would yield a better result? From which process do you have the advantage?
|
Quote:
*e |
Quote:
|
Quote:
|
Quote:
Which is why some crews find it an absolute must to hire an extra hand just to tote the broadcast monitor around for mobile shoots. (Never trusting the LCD or viewfinder beyond framing and focus). So if your not using a quality monitor to for a good approximation, then shooting flat is your best bet. Another issue is being both camera man and editor. If you know a filter will aide or avoid some post issues, then it's a no-brainer. |
All times are GMT -6. The time now is 09:01 PM. |
DV Info Net -- Real Names, Real People, Real Info!
1998-2024 The Digital Video Information Network