Joshua.
This is a rather simple case to test. Go outside and white balance for that light and check the colors. You are mixing two different color temperatures here so I'm not surprised of the result. As you mentioned, adding gel to the windows and bringing the same color of light will solve the problem. Another approach that you can use is by using daylight balanced lights to light the interior scene. Both LitePanels and Kinoflows can be used for that.

Paolo,

Forgive me if I wasn't clear enough on my first post. I'd like the window to be cooler, but the hue that daylight is rendered while white balanced to 3200 is a little too turquoise under TCV3 for my tastes. I was looking to match the discrepancy in color temps more like Mr. Dashwood's Warm settings, where the blue is paler. Or would any attempt to alter the color matrix negate the affect of "true color?"

Thanks for your help.

TrueColor is just a starting point, I tweak it from time to time. For example, I had to alter the level of the blues in order to get some reds to display the way I wanted. The important thing is to do it in a controlled environment. All the settings for gain and rotation affects each other. Think of a rubber band stretched around six poles. If you move one pole the tension at the other points changes. In order to make a change to one parameter you need to look at the result on a Vectorscope.

Good luck.

Paolo, thank you very much. Guess I'll have to wait until the gels come in.

Ruh-oh! Your True Color v3 - is it only for the 100?
 

So what about the 250 w/ the 17x5 HD lens? Will your settings hold up to the new lens? I'm sure it's going to affect something...and what about the 250 in general? What would you expect to happen if I loaded them onto one?

Are these settings specific to the 100? I'm learning from you, man - thanks.

I think your blues are closer than you realize. The one shot with TC3 is a lot more saturated, bringing up the "turqoise." However, I think the darker blue and the turquoise blue compared next to each other are about the same.

When you turn down the saturation of the TC3 image in Photoshop, or another image program, aren't the blues in the two pictures matching in hue better?

Spectacular improvement in color, from Paolo!!
 

Paolo, your suggested settings bring spectacular improvement. My staff and I have EVERYTHING to learn about the technology of color in our cameras. That is, we know NOTHING about it. But by simply implementing your suggested settings for the GY-HD100U found in the watermarked chart at this location:
http://www.paolociccone.com/hd100-calibration-3.html
...we have improved our color from 'poor' to 'spectacular.'

We had been wondering why the color was not quite what we expected from this wonderful camera. I still don't know "why"...but I do know now what to do to fix it...thanks to you, Paolo.

Bravo, Paolo! È la gente come chi, che ripartiscono la loro ricchezza di conoscenza, che fa il la maggior parte per rendere a questo mondo un posto migliore, giornaliere.

Riconoscente, --Scott

Does recording directly to hard disk necessitate change to the TrueColor 3 settings?
 

Are the truecolor 3 settings written for the compression that occurs when you record to tape as opposed to doing direct capture to either something like the Firestore DR-HD100 or on to a laptop via Scopebox? Or would they be considered to be the optimum settings to record directly to disk as well? If not, has anyone done something similar for recording directly to disk?

There are no settings written for compression or not. Please refer to the article that I wrote about TrueColor, http://www.paolociccone.com
The configuration has been designed to be the most neutral, true to 1:1 representation that the HD100 can achieve. This is not changed by the compression. On the other hand capturing component out at 4:2:2 will allow you to preserve more color information and TrueColor is designed to avoid data loss.
BTW, while I initially designed TrueColor with the smaller DSC chart, I recently tested him with with the 28-Color and I'm happy to report that it actually held very well. I might tweak it a bit later but it's a very solid configuraration.

Scott, I don't think I replied to this before, I just saw it. Thank for the kind words.

Very few cameras come out of the factory correctly calibrated and "correctly" is a subjective term. Some people could argue that just having the camera reproducing reality is not really their target. I suspect that some of the defaults in these cameras depend on someone's idea of what is most likely to meet the taste of the target audience and sometimes these ideas can be totally off, as it is in the case of the HD100. In my way of shooting I like to have the least amount of "interference" from the camera so that I can set up the scene and light it create the mood that I want and if my eyes like what I see then the camera should save that image.

Il piacere e' tutto mio, Scott. :)

Steve...

I agree with your statement that ASA "should" be invariant. However, in my own tests on a Canon XL2, I noticed slight variations in the ASA value with changes in shutter speed. This can only be explained, in my mind, by theorizing that the sensitivity of the sensor varies with exposure in a non-linear fashion that isn't compensated by the camera's internal mapping. Another possibility is that the non-linearity is compensated in the light meter calibration. Testing with a separate light meter should answer this question.

re true color on the HD 201
 

Hi, is the true color setting ok for the Hd 201/250 ??

There is a version that I made for the HD200, see my website: http://www.paolociccone.com

[QUOTE=Paolo Ciccone;483025]Hey Enzo, e tu lavori a Hollywood e Cinecitta' ? ;)

"If you do broadcast work normally, TC might be reproducing "illegal" levels. Of course you can reduce them in post but you're settings require less manipulation. I'm aiming at making the HD100 as close as possible to film so I didn't check the values against broadcast levels."

Please forgive me if I get this wrong. I am looking to set up my HD201 with the TC3 colors. I think these settings might be what I am looking for. You say that the TC may represent illegal levels. In what way? I am shooting for broadcast quite often but am not used to setting up my camera, tough Eric Gulbransen has given me some confidence I can. Should I not do this then?

I am also trying to match my HVX200 to the 201 and I am looking for filmlike colors. Thanks in advance.

By the way, this forum is great.
Svein Rune

Svein, it you have a HD200/250, you should use my TrueColor HD200 either version 1.0 or 2.0, the color matrix for the HD200 is completely different from the HD100 and the settings don't apply.
My comment about the "illegal values" means that the camera can produce digital values that are beyond the range of SD broadcast TV. They might be. It depends on what and how you shoot it.

Paolo.
Thanks. That was the quickest response ever. Wow.

Are these the settings you refer to?

Master black -2 Color Gain Normal
Black Stretch1 Color Matrix Standard
Detail MIN R Gain 3
White Clip 108% R Rotation 4
Knee Manual G Gain 2
Level 90% G Rotation Normal
Cinelike OFF B Gain 3
Gamma CineLike B Rotation -3
Gamma Level -1

Svein Rune

Hello Paolo
I have a question
i'm using true color V3.0 (love it)
should i have Motion Smooth on?

thank you
Joe

Joe, Motion Smooth should be yanked out of the camera, if possible
Turn it off, for the love of God man, turn it off ;)

Hello Paolo
i turn it off
i don't know how it got on i must have done it by mistake
once again you help me
Thank you
Joe

Nope. TrueColor HD200 is at http://paolociccone.com/TrueColor-HD250-part2.html
Alternatively I have another configuration adjusted for Nikkor lenses but that could work for the stocker as well: http://www.dvinfo.net/conf/showthrea...147#post807147