just finished to shoot commercial with the ex-3

i used the camera with canon 4.7 2/3 HD LENS

i used philip bloom set-up

with the add of
detail level________ -15
frequency_________ 20

it was beautiful

Here are print outs of my HVX200/HPX170 settings. All the other settings are set to default. I noted that the detail adjustment is subjective because I just eyeballed the difference. The EX1 is notably sharper even at the lowest level. My Black Gamma levels are set very low in order to mimic the fall off of the HVXs Gamma curve. Do note that the Black setting has very minimal adjustment.

HVX Matches for EX1

PP1: Cine V
Matrix –
- Select: High Sat
- Level 0
- Phase +2
- R-G -11
- R-B -23
- G-R +38
- G-B 0
- B-R +17
- B-G -23
Detail –
- Level –30 (subjective)
- Frequency 15

Gamma –
- Level -1
- Select: Cine 1

Black – -2
Black Gamma - -99

PP2: Cine D
Matrix –
- Select: High Sat
- Level 0
- Phase +6
- R-G +22
- R-B -36
- G-R +19
- G-B 0
- B-R +14
- B-G -16
Detail –
- Level –30 (subjective)
- Frequency 15

Gamma –
- Level -1
- Select: Cine 1

Black – -2
Black Gamma - -96

PP3: HD NORM
Matrix –
- Select: Standard
- Level -5
- Phase +1
- R-G +8
- R-B -30
- G-R +15
- G-B -24
- B-R 0
- B-G +10
Detail –
- Level –30 (subjective)
- Frequency 15

Gamma –
- Level +11
- Select: STD4

Black – -1
Black Gamma - -52

PP4: FLUO
Matrix –
- Select: FL Light
- Level -8
- Phase -5
- R-G -64
- R-B -24
- G-R +64
- G-B -18
- B-R +24
- B-G -23
Detail –
- Level –30 (subjective)
- Frequency 15

Gamma –
- Level +11
- Select: STD4

Black – -1
Black Gamma - -52

Wow Andy! You've been working hard on this. If I have some time today, I'm going to try your settings. Thanks for doing the work! :)

Hey Andy,
Cheers for taking the time!
Mick

Hey Andy,

Can you make an attempt at a description for CineV, CineD, HD Norm and FLUO. I'm guessing that FLUO is for shooting under fluorescent lights.

Thanks Andy I've been hoping someone would.. You're a star!

Pp!
 

this
progresite
is an example of Jim's PP1 from posting #11.
very demanding ligth conditions & very good results IMO ( unfortunately this flv file cannot justify ..)

Desert Action
 

Heading out to the Arizona desert to shoot some action sports next week, cycling in specific. A lone rider, lots of sun, lots of POV and terrain.

I am looking for edgy and cool PP recipes to try out - hoping to have several to try; will post the footage afterward :)

thanks in advance

greg kiger
st louis

EX1 and spf 30 sunscreen

Blind leading blind
 

For other newbies out there like myself asking the basic question "what are some good PPs I can go try?" an answer would be to read this whole thread and take lots of notes - I finally did and it's very informative. But if, unlike me you actually have a life and can't spare the time, here at least is a start...

Check out post #120 on page 8 and download Bill Ravens recipes. Move them onto your sxs card (after renaming Bills file as he outlines) and import them onto your EX1 per the manual (page79 Retrieving the set Up File).

Then check out post #262 for the key details on how to use them. Oh yes, and remember to white balance and always wear clean underwear :)

Many thanks to Mr Raven and others for all the great insights!

greg kiger
st louis
pro photog / new to video
Greg Kiger Photography

Stupid question???
 

when using a picture profile... should a white balance be done before the profile is selected or after? could whoever responds to this one explain why?

My brain is moving extra slow today.

Greg

ALWAYS do a white balance first, before shooting, that is. Without doing that, any profile you select will be skewed. It does NOT MATTER whether you do a white balance before or after loading a profile.

Think of it as a signal path.

Light goes into lens > white balance effects look of picture > PP effects look of picture

You use your white balance as a "base line" or reference for "correct" color. Then the PP tweeks it.

I'm GREATLY over simplifying it, but that helps me get a handle on how white balance and PP interact.


So to take this discussion a step further.....

You could probably white balance on a white card, then use PP to make your picture look like you white balanced on a Warm Card. Right? :)

Anyone know what the actual settings are on post 120? My pc can't open the file.

So to take this discussion a step further.....

You could probably white balance on a white card, then use PP to make your picture look like you white balanced on a Warm Card. Right? :)[/QUOTE]

Wow - now you really open a can of worms... but its basically true what you say, however I would choose PP settings for different situations and then use a whitebalance on a card or preset which gives you the shift to warm or cold you desire. Warm and cold cards are on the market but you can make them yourself. I have a plain white card taped into the inside of my lens cover... so I always have it with me.

I often shoot theater and dance and always balance to daylight preset in this situation but use a very flat contrast PP to get the most detail in the blacks and highlights. then I make the desired look in post. for outside shoots I prefer a pp that is a bit more snappy in the contrast and colors, but always whitebalance, not like in a theater.

I had a shoot yesterday that I thought would take an hour, but when I arrived I found out they had under-scheduled the amount of time it would take to capture everything they wanted. The point is....I was RUNNING.

Anyway, I wanted to share that I shot the whole thing using the following technique:

1) I'd open up my PP (I'm still using Doug's setting from the Vortex Media DVD) and simply dial in the color temperature in the white balance setting:

a) 3200 for shooting under our tungsten studio lights
b) 5600 for shooting outdoors
c) 4100 for shooting under fluorescent lights

You could change the color temp number and watch the color of the scene change in the viewfinder. I never white balanced once and everything looks pretty darn good considering the amount of time I had.

Obviously this wouldn't be the ideal way to work if you were shooting some critical shots where you had plenty of time to set up, but I thought I'd share anyway. :)