EX1 Zebras.....
 

I have just imputed 6 different profile settings.

For some reason..... Zebras will not appear on one of the 6 profiles.

Can anyone tell me why?

The profile in question is from Paul Kellett PP2:
EX1 Knee slope and point demo. on Vimeo

Big thanks!

Hi Johnathan.
The 100% zebra's don't appear because those picture profiles are demonstrating how it's possible to limit white's. ie stop them blowing out.
You can't get 100% zebras with that PP.

Paul.

Nice work Paul. Thanks :)

It's interesting that you can "dial it" so that it never touches 100 IRE. Have you noticed any trade-offs?

I'm currently trying to nail down some decent PP setting that I can spend some time with and get to know.

There seems to be several sets of PPs floating around from Bill Ravens.

Would you or anyone care to comment on the differences between the two? Both are available on Phil Blooms site:

http://philipbloom.co.uk/2008/02/18/...e/#comment-473

These are from FEB 18th:

Matrix ……………on
Select…………….hisat
Level………………0
Phase……………..-5
R-G……………….75
R-B……………….0
G-R……………….-18
G-B……………….-32
B-R……………….-27
B-G……………….13
Color Correction…………..off
White………………………..off
Detail………………………..on
Detail Level…………………0
Detail Freq………………….0
Skintone…………………….off
Knee…………………………on
Auto knee………………….on
Point………………………..90
Slope……………………….0
Knee SAT level……………50
Gamma Level…………..-8
Gamma Select………….CINE1
Black……………………..-12
Black Gamma…………..0

These are from FEB 27th:

Matrix select: cinema
Level: 0
Phase: -29
R-G: +31
R-B: 48
G-R: -2
G-B: -32
B-R: -38
B-G: +4
Color Correction ON
Target Phase: 274
Target Width: 0
Level: 91
Phase: -18
Knee SAT 50
Gamma Level: 0
Select STD1, Cine1, CINE3, or CINE4
Black: -8

Looking forward......

Jonathan...

The two PP settings you posted approach the problem of applying color corrections to the EX1 by placing the six colors of DSC Labs color chart on the targets of a vectorscope. The first approach does this by manipulating the matrix settings, alone. The original settings, which you've posted, are designed to give full black in the shadows, with absolutely no headroom for exposure error. As such, these work well in a controlled lighting situation, like onstage, indoors. The same matrix settings with BLACK dialed back to -4 gives a little more lattitude without crushing the blacks. These settings give a warm look, with the reds still showing more amplitude on the vectorscope.

The second set you posted was an attempt to provide a rich color map with a cooler look. This second approach uses the COLOR CORRECTION settings to bring the reds down. The EX1 has a natural balance towards the reds and this was the only way I could find to dial them down, or dial the greens up, as the case may be.

Well said Bill. Big thanks!

This should be included in the sticky on Picture Profiles.

So now, how to translate this into something useful?

Can you expand and enlighten us on how one might effectively take advantage of various settings for various situations? I have read every post I can find on the subject but would welcome any new insights you can offer.

Looking forward......

Jonathan..

Experience, my friend, is a great teacher ;o)
Not wishing to sound coy, but, there are so many options that solutions are non-unique. The one rule I hold on to is don't blow the hi-lites. If you can manage that, everything CAN be fixed in post. My general philosophy is that it's better to get in the habit of producing footage that meets a standard of exposure and "look". Once I develop a color profile, I tend to use it all the time, everywhere. Knee adjustments, of course, are tailored for every scene, depending on the contrast requirements. FX like film noir, B&W, bleach, etc. can all be applied in post. I'd rather not apply them to my raw footage because then I'm pretty stuck with whatever effect I shot in.