Nate, Allister
In your DSC set up with the F3, how was your field tests? Did you experience additional noise in the blacks if Gr and Cy were pushed to their targets?
Did you dial down the Cy and Gr, or set them to their targets?
I have attached a capture from my Leader 5330, but I'm not inclined to publish their Matrix/Multi Matrix numbers for obvious reasons.


Allister,
are your PP derived from a vector/DSC Chart, or your "Golden Eye?". A compliment I assure you.

Will you be at NAB? If so please stop by the Sony booth, I'll be the tall bald guy set between the F3 and the PDW-800.

My DSC effort turned out to be a misadventure.

We worked under 3200 for the chart, and then when we went to daylight the greens went off the map (I didn't know you have to do it both for tungsten and daylight. Ooops.)

Days later I threw up my old bent up Macbeth under tungsten, took a vectorscope snapshot of standard matrix, and then just tweaked by eye. All of the Sony matrices seemed to be be a bit saturated for yellow, orange, and green. I simply backed off those using the primary matrix (a chore), and then did a small amount of tweaking in multi matrix.

I can't stand by my work though, I haven't seen it in enough situations yet. Things prior to today had been looking quite nice with yellows/greens under control, but then I looked at today's work and people in blue jumpsuits today seemed to skew purple. That's the only thing I noticed though.

Is the colour of the blue jump suits due to IR? Adam Wilts Pro Coalition test highlights the IR issue when comparing AF100 with F3. AF100 no problems but F3 has the skew we know and love on man made clothing. Not a real problem that can't be solved as we EX1/3 owners know.

Nate thats really odd, i've calibrated a number of sony pro cameras using a 3200 source and a dsc chart and then had no issues swapping it over to a daylight white balance.

I'm really curious about this, my camera is supposed to arrive on thursday and I have my chart and waveform here so I'll do some tests as soon as it gets in. Would you mind telling me what you did so I can try to mimic your results?

Nate,
I spoke with David Corley of DSC Labs, and he directed me to some of the experiences Walt Lindblom Video Engineer with SAIC NASA. See Link TechTips (http://www.dsclabs.com/tech_tips.htm)

In addition the Minnesota Vikings were doing in their DSC set ups under tungsten and then balancing their cameras on the field to HMI's. The violet Vikings appeared to be of a different color under those lights and daylight mix. David suggested that they chip their cameras on the field, and all was fine.
When I was a one camera guy (When Beta ruled), Roger Macie of Macie Video would set up different scene files for different situations. Since I now have many different cameras and mix with other operators, I find it necessary to do my own set ups. Perhaps it would be prudent to follow the above and create basic scene files for different K values.
While in Vegas, I'll tap as many people as I can and share it here.

When in doubt, use a Standard Matrix and record the Chart before and after each scene or lighting change and leave it up to the CC tech's.

@Dennis: Alister will be filming interviews at the Sony booth with his 3D hurricane rig.

Chuck
I'll bring my glasses.