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The 4K DVX200 plus previous Panasonic Pro Line cams: DVX100A, DVC60, DVC30.


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Old February 14th, 2005, 02:32 PM   #16
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Imran,

NP. Lot's of other places to get this information.

I just found it ironic that within the same thread he was asking for info when he had previously declined to share. Seems like if you're asking other people to help develop/improve your "top secret" settings it might be appropriate to share them. :-)

No big deal. I've seen Heath contribute lots of other info here.

I'm happy to move on to the original subject of this thread.

Best Regards,
Pete
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Old February 14th, 2005, 02:37 PM   #17
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Off topic we go; but 'Camera Settings' being Top Secret is one of the funniest things I have ever heard. Especially in non-proprietory environment such as an institution of learning.

"Hey! What did you have the Master Ped set at?"

"I can't tell you."

LMAO

Okay, back on topic before Mr. Hurd hears us!
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Old February 14th, 2005, 02:47 PM   #18
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Hell, I had been hoping to post a couple of pages on my site regarding user-submitted custom presets for the XL2 and DVX; it's just a matter of getting people to share them!
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Old February 14th, 2005, 02:53 PM   #19
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LOL

I hear you. That would be interesting though. Maybe a Frame Grab of True footage (Pre post) with the settings used; could come in handy for a variety of situations particulary in the realm of the 'Nasty Reds' and 'Moire Patterns'
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Old February 14th, 2005, 08:48 PM   #20
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Jon Fordham won't tell me his "secret sauce recipe" that he uses on his DVX100A, but it really looks like film!

heath
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Old February 15th, 2005, 12:29 AM   #21
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<<<-- Originally posted by Heath McKnight : Jon Fordham won't tell me his "secret sauce recipe" that he uses on his DVX100A, but it really looks like film!

heath -->>>

Damn the Apes! Isn't he 'teaching'? : / It's like a Master Painter not telling you the ratio of terpentine and oil to use or The Music Master not telling you how to tune the instrument or or or.......

LOL
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Old February 16th, 2005, 08:49 AM   #22
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He gives us great tips for all five of the scene files (or is it six?), and I have to say, those rock!

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Old March 8th, 2005, 04:47 PM   #23
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Pete,

Heath mentioned this thread to me the other day. And I wanted to weigh in on my policy of sharing. As a cinematographer, I have no problem sharing advice and information with my peers and colleagues. But for the students who are paying good money to use the cameras that I have set up for the Palm Beach Film School, I feel it unfair to post that same camera setup information on the internet.

There is plenty of setup information that I would be happy to share. And there are a few setups that I like to keep to myself. How the Palm Beach Film School's DVX100A's are setup is something that I feel unfair to share with those who are not PBFS students.

John,

Yes, I teach a cinematography class at the Palm Beach Film School once per semester. But I reside in New York city where I am a working cinematographer. My focus in the class at PBFS is on manipulating the DVX100A and using cinematic lighting strategies to achieve the best look for a particular project. But thank you for the "master" reference! :) JK.

Chris,

I would be open to sharing advice on how I personally prefer to setup the DVX if you're looking for an artricle to post. Just let me know.

For anyone in the TX area interested in seeing some of my DVX work, then check out the feature film Four Eyed Monsters at the 2005 SXSW Film Festival.

Four Eyed Monsters made its World Premiere at the 2005 Slamdance Film Festival.

You can read the Film Threat review of Four Eyed Monsters here.

Heath,

How do you always manage to pull me in like this?!

But in reference to your post, yes, lighting is everything. Both the Cine-Like and Cine-Like_D gamma curves create a lower contrast image that delivers lower color saturation. However, if lit with contrast and properly exposed, both gamma curves are capable of delivering beautiful images with plenty of color and wider lattitude than traditional video gamma curves. Add to that, that 90% of the consumer televisions (which is where most of your audience is going to see your digital opus) are way too over saturated in thier color settings. So by the time your conservative color reaches your audience's television, it should look just about right!

If your white balance isn't looking quite right to you in terms of warm and cool, then don't forget to use the Color Temp adjustment in the Camera Setup menu. Skin tone too pale? Adjust the Color Temp to warm it up. Skin tone too red? Adjust the Color Temp to cool it off. And just as important, don't forget to Black Balance, as it can drift when the camera warms and cools during operation. Which in turn will shift your color.
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Old March 8th, 2005, 08:25 PM   #24
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Thanks Jon,

If you have the time to write one up, I'd love to run it. I'm working on getting some other content finalized that you've written for us. Once I have that ready, I'll shoot you an email. Thanks again,
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