Anyone with A1 + Z1?

[Luis Rolo]

Hi everyone.
In 1 week I will need to shoot with a Sony Z1 next to my XH-A1.
I don't know much about that camera. Will it be simple to match with the A1 image? Any color preset to do it?
Does the Z1 have something like the A1 25f mode? If it doesn't, will it be best to shoot interlaced with both and deinterlace in post, or shoot the Z1 interlaced and the A1 progressive (or frame mode...), and deinterlace only the Z1 footage?
Any advice is welcome.

Thanks.

L.R.

[Jonathan Shaw]

Hi Luis,
The Z1 does have a cineframe mode (can't remember the exact term) but it is no way as good as the canon frame mode.
I would shoot in 50i with both cameras for ease in post.

[Benni Katz]

Hey Luis!
I am a Z1 owner - my friend has an A1.
We didnt get the images matched properly yet, but got the best results using the Panavision Preset for the A1 and leaving the Z1 pretty close to the standard settings.
This is only raw hint which may help to match these cameras whereas it seemed nearly impossible to us yet to get an identical image.
The Z1 has a progressive mode called "Cineframe 25" but hasnt been used by us because it produces very stuttering motions which cant be compared to 25f
So shooting interlaced with both cameras might be the best solution here.

I would be interested in any other experiences with matching these 2 cameras...
so keep on posting :)

[Przemysław Pyrek]

Hi.
This is actually my first post on the forum, so again - hello ;-).
As Jonathan already wrote the best way would be to shoot both cameras 50i and deinterlace in post.
Actually i'm using the same gear xh-a1, z1 plus fx1, and me and my colleagues did shoot a concert two weeks ago with those.
As for color correction i wouldn't use any presets, just setup WB on the same area. The footage looks alike, but the z1 tends to be a little on the red side.

As for Z1's CineFrame mode it's still 50i, so you would have to deinterlace anyway.
Trying to edit 50i and 25p together could be at least problematic ;-).

Hope it helped.
Przemek

[Luis Rolo]

Thanks a lot guys.
I think i'll have the Z1 in my hands in 2 or 3 days and then i'll make some tests.
I'll post any conclusions here.

L.R.

[Mark Fry]

I have a friend who uses an FX1 and we often combine our footage. I'd agree with the advice regarding shooting 50i on both cameras. Without any colour correction in post, we can tell which camera is which, but don't find it a distraction. On the default settings, we find the Canon image is warmer and has better definition; not "sharper", exactly, just clearer. In poor light (when it's cloudy or late in the day), manual WB exagerates the warmth of the Canon image. Sometimes it can look as though I'm using a tobacco filter!

[Luis Rolo]

Originally Posted by Mark Fry

I have a friend who uses an FX1 and we often combine our footage. I'd agree with the advice regarding shooting 50i on both cameras. Without any colour correction in post, we can tell which camera is which, but don't find it a distraction. On the default settings, we find the Canon image is warmer and has better definition; not "sharper", exactly, just clearer. In poor light (when it's cloudy or late in the day), manual WB exagerates the warmth of the Canon image. Sometimes it can look as though I'm using a tobacco filter!

Are you using any preset or shooting with native settings?

[Mark Fry]

Originally Posted by Luis Rolo

Are you using any preset or shooting with native settings?

Mostly the default settings, though I have tried a few presets, including some posted on this site. The "warming" effect of manual WB in dull conditions is noticable with all the presets I have tried.

[Brandon Freeman]

I keep forgetting to update my signature (no longer own the Z1U), but I'm currently working with an FX1 alongside an A1, which produces an identical image to the Z1U.

Basically, I've found the TrueColor preset to best match the FX1/Z1U. Tweak it a bit, because you can't crunch the blacks so much, but it's pretty darn close.

White balance off of a white card, no dialing it in.

Check this link:

http://www.vineyardboise.org/hear_th...6/20080615.wmv

The wider camera is the FX1, the tight camera is the A1. You have to go in to about 4:45 before they start switching.

[Mark Fry]

Originally Posted by Mark Fry

Mostly the default settings, though I have tried a few presets, including some posted on this site. The "warming" effect of manual WB in dull conditions is noticable with all the presets I have tried.

I think I need to get a "white card" that is truly "white". I'm currently using a sheet of the whitest parper I could find at the time, fixed to a square of heavy card. Looking at it yesterday, though, alongside other bits of paper, it's looking quite grubby and actually has a very slight blue/violet tint, which could explain the "warming" effect.

I've been using "TRUCOLOR" recently, but I'm not impressed. The very low set-up and pedestal values make it rather dark, and I see a lot more noise in dark areas than with the factory default settings. I know the author, Paolo, went to a lot of trouble to make it as neutral as possible, but it doesn't work for me. Have you tried "AC PREF"? Of the presets posted on this site, it is the one that appeals to me most (at the moment).

[Luis Rolo]

Thanks again guys.
It seems i will only have the camera on tuesday. I will test both presets.

L.R.

[Robert Bec]

So which camera is best under low light A1 or Z1

Robert

[Luis Rolo]

Originally Posted by Robert Bec

So which camera is best under low light A1 or Z1

Robert

I still don't have the Z1, but I assume that being able to soot 25f (or 24f) and consequently lowering the shutter to 1/25 or 1/24 makes the A1 a better low light camera.

L.R.

[Brandon Freeman]

Originally Posted by Mark Fry

The very low set-up and pedestal values make it rather dark, and I see a lot more noise in dark areas than with the factory default settings.

This is true. I keep the pedestal value neutral, and the set-up at -9. This keeps blacks from clipping, but still gets the blacks truly black.