Who could help me in matching the colors of the fx1 and a nikon d5100?
thx

The classic method of matching cameras is very straightforward, though I expect the look of the fx1 and a dSLR will always be a bit different.

First, you need to shoot the same target with both cameras.

Then, with the target footage on two separate tracks, use a color correction filter (I'd start with Color Curves in RGB mode), match the values of the steps of the gray scale between the two clips when viewed on the waveform monitor in luminance mode.

When that is done,

use a color correction filter (maybe CC, maybe Color Curves...), match the angular position and intensity of the color patches when viewed with the vectorscope.

If you're unfamiliar with them, you might google for how to read the waveform and vectorscope... ah, I see that dsclabs.com has a reprint of the tektronix application note (http://www.dsclabs.com/Tektronix%20Application%20Note%20Final.pdf) that many oldtimers learned from.

For a target, you'd use something from DSC Labs (expensive!), or a TecNec MCS-1 color chart, perhaps there is someone you know who you can borrow a chart from? They're expensive, about $100 to $1000 USD. Most video engineers and repair facilities will have one.

seth, from what i've seen recently, most (younger) camera(people) don't even white balance! they throw the wb to artificial (or whatever) and simply shoot.

(no offence meant to marcus).

Sad but true!

Some of us are rapidly turning into fossils... but if I hang around long enough, some of those hard-won old skills will be shiny and new again!

Camera matching, for example, where's my tweaker?

Sad but true!

Some of us are rapidly turning into fossils... but if I hang around long enough, some of those hard-won old skills will be shiny and new again!

Camera matching, for example, where's my tweaker?

Fossils?
I resemble that remark :)
I haven't heard anyone ask for a tweaker in a very long time.
Everything these days is frame-sync locked so no one does Horizontal and Sub Carrier timing on Tektronix waveform and vector monitors anymore.
Reminds me of the days of tube registration (vidicon/saticon/plumbicon tube anyone) which I'm sure you and Leslie remember only too well.
I'm willing to bet that a lot of folks on here don't know the difference between an insert and an assemble edit.
OMG, now I'm really sounding old !!

bet my wheelchair has bigger tyres than yours does - na-na-na-nah!!!

I don't like to brag but this is my wheelchair :)
Bugatti Veyron Top Speed Test (http://www.youtube.com/watch?v=LO0PgyPWE3o)

Well the first step would be to stick a color correction filter with a cRGB to sRGB preset, since although the D5100 calls it's color "sRGB" it sure looks like "cRGB". That will get you in the ballpark if you use that as a starting point.

When i shoot with 2 different cameras the first thing i do i White balancement but...this time brought me the footage shot with a DSLR to insert on these shots of 2 years ago....So even if the new one is a small amount of time to add on the timeline i'm trying to achieve a similar result. What i first did was to use the WB plugin then i saved the preset (the withe values) to import on the FX1 old footage but......not that happy!
Now i have to try what you are suggesting me then i'll let you know!

gracias

The colorspace on the HDV camera ranges between RGB values of 16 and 235 or sRGB. In spite of the menu setting choice of sRGB or Adobe RGB, the sRGB setting on the D5100 looks like it goes between 0 and 255 like you would expect from cRGB. As a result the D5100 footage appears oversaturated next to HDV footage like your FX1. It will also look oversaturated on a HD TV. I just bought a D5100 last week and the cRGB to sRGB color correction preset fixes the worst of the difference. I'm sure I will end up tweaking it further, but for now, at least I am in the ballpark.

Marcus, if you have similar shots from each camera, post screenshots and we'll see if we can make some recommendations.

The next day after I got my D5100 I had a local commercial shoot. I brought both my HVR-Z7U (HDV) and my brand new Nikon D5100. There is exactly one shot from the D5100 in the following video. See if you can tell me which shot it is:

http://laurencekingston.com/CinemaMedia/SandwichShoppe

Mike,

the reference to tubes!!

I gotta know, how old arre you!! Thought I was one of the old farts here at a mere 61.


Dale

The next day after I got my D5100 I had a local commercial shoot. I brought both my HVR-Z7U (HDV) and my brand new Nikon D5100. There is exactly one shot from the D5100 in the following video. See if you can tell me which shot it is:

http://laurencekingston.com/CinemaMedia/SandwichShoppe

i would hazard a guess and say the group shot - but even if i'm wrong, you did an ace job of colour matching.

Laurence i guess D5100:
the sandwich shop
the sandwiches and food are from d5100

the others with the z7?
WOn or lost?

Mike,

the reference to tubes!!

I gotta know, how old arre you!! Thought I was one of the old farts here at a mere 61.

Dale


Dale, I just turned 60 a few days ago so you have a year on me :)
When I started my first job at St. Clair College in 1974, they were using black & white cameras with vidicon tubes - and 1" Sony black and white reel to reel VTRs (EV-320 as I recall).
We upgraded to colour in 1979 and had Hitachi cameras with saticons.
I know there were plumbicons in there somewhere but I can't remember where or when.
I definitely do NOT miss the 'good old' days !!

Fossils?
I resemble that remark :)
I haven't heard anyone ask for a tweaker in a very long time.
Everything these days is frame-sync locked so no one does Horizontal and Sub Carrier timing on Tektronix waveform and vector monitors anymore.
Reminds me of the days of tube registration (vidicon/saticon/plumbicon tube anyone) which I'm sure you and Leslie remember only too well.
I'm willing to bet that a lot of folks on here don't know the difference between an insert and an assemble edit.
OMG, now I'm really sounding old !!

I feel out of the loop, I have a lot of Google-ing to do

I ended up using just one shot with the D5100: the finished sandwiches laid out on the counter. The main thing missing from the DSLR shots was the grill sizzling sounds from the z7's shotgun mic. I just got a Rhode Videomic Pro and have a Halo Rig on order and with that setup (D5100 mounted in the Halo Rig with the VideoMic Pro) I would feel as comfortable as I do with the Z7 and my shoulder mount.

All I did to match the D5100 to the Z7 was run the footage through a color correction filter with a cRGB to sRGB preset. As I go forward, I'll be tweaking this preset to make it even closer.

I really love the D5100 so far, I use auto exposure most of the time on my Z7 anyway and don't mind letting the Nikon set the exposure for me.