Getting SDI A Output?

Andrew Stone · April 7th, 2011, 09:28 PM

Quote:

Originally Posted by Philipp Eierund

it appears that my TV Logic VFM-056WP's build in vector scope won't do me any good?...my problem that I don't have a scope with 2x? Pretty much wasted those $300 on the chart, eh?

Philpp, it may be comforting to know that TV Logic has had numerous requests of late to have 2x gain adjustment added to their vectorscope. It is expected that they will offer this in a free (or near free) firmware upgrade in the not to distant future.

You can still use your chart. I find it essential for reference point when doing grading/color correction and throw it up at the beginning of shoots and scenes. Once you start doing it, you will probably begin to use reguarly, scope or not on set.

Alister Chapman · April 8th, 2011, 08:01 AM

Like Denis I don't really understand how Nate is managing to use the multi-matrix to generate a custom matrix as the multi-matrix is saturation dependant. If you move away from the target saturation/hue then the multi-matrix no longer has any effect, so it's effect on the colourimetry will vary from scene to scene as the saturation and hue of the subject changes. It's designed AFAIK for modifying a single target color and changing it to something else. Perhaps you'd like to comment please Nate.

Dennis Dillon · April 9th, 2011, 07:14 AM

I'm on my way to Vegas this morning. Feels like my first tweet.
Anyway, since my day job as a DP/LD/Wrangler/Novice DIT, involves various cameras, my goal is to mix and match the tools we choose for that task.
My job at NAB is to help inform people of the ENG/EFP features of the PDW-800 and the PMW-F3. This includes mixing the above on the same set. I'll be at The Sony Booth, Camera set, standing between the F800 and the F3 with a Leader 5330. I'm very affable, so please stop by and feel free to add and share the knowledge.
As some already know I have utilized the PDW-800/Pro35/Ziess ultra/ super and EX1/3 with a Zeiss ZF/Letus combo for two years plus. So the F3 is a product long awaited.
When it comes to what looks right/good is part scientific, part subjective, and subject to industry standards. While I do not claim a level of 'Master Matrixer', I always strive to match my cameras as best I can, leaving enough room for basic CC in 709 REC, and or Log.
I have had many conversations with various industry folks who all come up with common and varied approaches to setting up a camera. And for that matter, each model may require different paths.

So it is my intent this week to fine tune my approach so that it has some universality to it, while still
availing me unique looks. I'll start a new thread on this so we can all share.

April 8th, 2011, 08:01 AM	#17
Alister Chapman Inner Circle Join Date: Dec 2005 Location: Bracknell, Berkshire, UK Posts: 4,957	Re: Getting SDI A Output? Like Denis I don't really understand how Nate is managing to use the multi-matrix to generate a custom matrix as the multi-matrix is saturation dependant. If you move away from the target saturation/hue then the multi-matrix no longer has any effect, so it's effect on the colourimetry will vary from scene to scene as the saturation and hue of the subject changes. It's designed AFAIK for modifying a single target color and changing it to something else. Perhaps you'd like to comment please Nate. __________________ Alister Chapman, Film-Maker/Stormchaser http://www.xdcam-user.com/alisters-blog/ My XDCAM site and blog. http://www.hurricane-rig.com

April 9th, 2011, 07:14 AM	#18
Dennis Dillon Major Player Join Date: Nov 2006 Location: Hobe Sound, Florida Posts: 213	Re: Getting SDI A Output? I'm on my way to Vegas this morning. Feels like my first tweet. Anyway, since my day job as a DP/LD/Wrangler/Novice DIT, involves various cameras, my goal is to mix and match the tools we choose for that task. My job at NAB is to help inform people of the ENG/EFP features of the PDW-800 and the PMW-F3. This includes mixing the above on the same set. I'll be at The Sony Booth, Camera set, standing between the F800 and the F3 with a Leader 5330. I'm very affable, so please stop by and feel free to add and share the knowledge. As some already know I have utilized the PDW-800/Pro35/Ziess ultra/ super and EX1/3 with a Zeiss ZF/Letus combo for two years plus. So the F3 is a product long awaited. When it comes to what looks right/good is part scientific, part subjective, and subject to industry standards. While I do not claim a level of 'Master Matrixer', I always strive to match my cameras as best I can, leaving enough room for basic CC in 709 REC, and or Log. I have had many conversations with various industry folks who all come up with common and varied approaches to setting up a camera. And for that matter, each model may require different paths. So it is my intent this week to fine tune my approach so that it has some universality to it, while still availing me unique looks. I'll start a new thread on this so we can all share.