I am about to chart the camera on a DSC chart, and am trying to get a clean, menu free output on SDI A.

I thought people have had this working for some time, as a clone of the regular SDI output?

I have HD-SDI enabled in the menus, and the regular SDI output is working fine. What am I missing?

Hi Nate. I didn't think this was possible without a firmware upgrade. I've only been able to get dual-link SDI working. I haven't been able to get a second SDI output on the SDI-A connector in addition to the HD-SDI connector.

I'm curious to see if you'll figure it out.

Nate

It will only work if your shooting 1080 59.94. Will not work if your shooting 23.98. Go figure

I think this is possible with the firmware upgrade though? If I'm shooting 4:2:2, 23.98. It would be great to have all three SDI firing at the same time. With the video village, monitor for the 1st AC and so on, it never seems I have enough outputs.

Having three live 4:2:2 SDI would save me from needing to use my AJA box. That's one of the things I love a about my Viper. Three live SDIs when in 4:2:2 mode. Even when in 4:4:4, I still get an extra 4:2:2 at the same time.

I hope the Sony can do that with the upgrade. That is, 4:4:4 on the A-B AND 4:2:2 on the SD-HDI.

I hear ya. I bought this up with Sony in Dec, and thought it would work when the camera came out, but they only had it working in 59.94. Just have to wait till the firmware upgrade in April. For now its, splitters, and TC readers (scriptboy)

I hope the Sony can do that with the upgrade. That is, 4:4:4 on the A-B AND 4:2:2 on the SD-HDI.

I thought that was pretty much the upgrade concept all along - to be able to use the Dual Link outputs for the S-Log while showing the LUT corrected picture via the HD-SDI.

I think you're right Dave. At least that's how I read the spec. I also think I can shoot to SxS with the LUT baked in, while doing S-log dual link.

Yes, that's what I had heard - and it of course makes total sense since that way your SxS data doesn't need any additional help (rendering) to be ready for the edit room where it can be used as the off-line source.

Nate,
pp 111 in the menue will guide you through. Set System HQ 1920/59.94i.
Go to Video Set
Scroll past to extended options "Duel Link & Gama Select
Select 1.5g

Yeah, I see now, it was an interlaced mode thing.

Just checking all this now, after everything is packed away and charts have left the building.

It took a considerable amount of work to get the F3 dialed in, we found that we needed to be in standard gamma and matrix to use as a starting point, and then after that was dialed using hefty amounts of regular matrix and multi matrix, went back to Cine1 and dialed down the matrix level (saturation).

I'm going to shoot some "tests" with it tomorrow, and if it looks nice, I'll share it with everybody. I'm not convinced quite yet that I "dialed in" the camera correctly, so I want to see what things look like in the real world before I let it loose.

Nate,
How and why did you engage multi matrix. Are you using a vector scope that has 2x capability? Multi to my belief is to alter a specific color. Was the chart A DSC 11 step 6/12/24/28 ChromaDuMonde?

Nate,
How and why did you engage multi matrix. Are you using a vector scope that has 2x capability? Multi to my belief is to alter a specific color. Was the chart A DSC 11 step 6/12/24/28 ChromaDuMonde?

I used multimatrix to get the targets to hit. And yes, I had a scope with 2x.

You are right about multimatrix, it divides the gamut into 16 slices and makes it relatively easy to make the CDM swatches hit the targets (and in between colors hit the lines). Relatively is the key word, it still was not a lot of fun.

We had a 12+4 chart.

So are we talking about the $3500 firmware/hardware upgrade in order to enable this in 24P, or just an ordinary firmware upgrade.

I'd like to see them give even higher gain choices in firmware upgrade as well. If 18 is so clean, why not give us a slightly noisy 24db.

It could actually be useable when using zoom lenses . especially slower ones. I'm playing with a Nikon 18-200 f3.5-200. It looks great even at night in a dark house at 18db with shutter off. With another stop though I could zoom in all the way and still hold dark parts of the house. Never satisfied huh.

Hi Nate,

I got a DSC chart myself and tried to "dial in" the colors. However, it appears that my TV Logic VFM-056WP's build in vector scope won't do me any good? Look at the screenshots below.

MobileMe Gallery (http://gallery.me.com/peierund#100159/IMG_0329&bgcolor=black)

MobileMe Gallery (http://gallery.me.com/peierund#100159/IMG_0330&bgcolor=black)

Is my problem that I don't have a scope with 2x? Pretty much wasted those $300 on the chart, eh?

When do you think you'd be able to share your calibrated profiles with the rest of us?

Thanks,

Philipp

Hi Nate,

I got a DSC chart myself and tried to "dial in" the colors. However, it appears that my TV Logic VFM-056WP's build in vector scope won't do me any good? Look at the screenshots below.

MobileMe Gallery (http://gallery.me.com/peierund#100159/IMG_0329&bgcolor=black)

MobileMe Gallery (http://gallery.me.com/peierund#100159/IMG_0330&bgcolor=black)

Is my problem that I don't have a scope with 2x? Pretty much wasted those $300 on the chart, eh?

When do you think you'd be able to share your calibrated profiles with the rest of us?

Thanks,

Philipp


You absolutely need a vectorscope with 2x gain to use a Chroma Du Monde chart.

The "calibrated" profiles I made were NG. I saved them to a card and cleared them from the camera.

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.

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.

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.