Steve Mullen
October 9th, 2005, 09:31 PM
Many cameras offer all sorts if "Cine" modes that alter gamma so that, at worst, the pix looks less like "video" and, at best, more like "film." These Cine gamma settings are useless for those who want to actually transfer video to film.
The correct gamma for video that will be transferred to film is very linear. Through the majority of the light range, there should be a 1:1 relation between changes in light and the output signal. This is NOT the case with video gamma or any the "pseudo film" gammas.
Technically, the majority of the video should lie between the "toe" and "sholder" of the film stock.
The HD100 provides just this type of gamma called FILMOUT. You should use this setting if you plan to transfer your video film. (I uderstand that a film maker in CA was part of the process of actually developing the curve.)
Using this gamma will result in images that look very different than any you are used to seeing! They can be correctly viewed only on monitors that have a special film-mode that modifies the gamma of the signal to that which represents the way the video will look when transferred to film.
This has a major impact on how you shoot (LCD and VF) and color correct! Moreover, any video productions created before the transfer to film will need to be gamma corrected so the video will look like the film will look.
These are non trival problems to solve, but when folks want to shoot film using a video camera -- this is the challenge they are undertaking.
P.S., Panasonic offers such monitors because their Varicam offer three types of gamma just like the HD100: Video (STANDARD), film look (CINELIKE), and film (FILMOUT).
You will likely create a custom Color Matrix for use with FILMOUT gamma. Creating this Matrix is like choosing the film you would use were you shooting film.
Anyone who has used a Varicam -- please post your experiences!
__________________
The correct gamma for video that will be transferred to film is very linear. Through the majority of the light range, there should be a 1:1 relation between changes in light and the output signal. This is NOT the case with video gamma or any the "pseudo film" gammas.
Technically, the majority of the video should lie between the "toe" and "sholder" of the film stock.
The HD100 provides just this type of gamma called FILMOUT. You should use this setting if you plan to transfer your video film. (I uderstand that a film maker in CA was part of the process of actually developing the curve.)
Using this gamma will result in images that look very different than any you are used to seeing! They can be correctly viewed only on monitors that have a special film-mode that modifies the gamma of the signal to that which represents the way the video will look when transferred to film.
This has a major impact on how you shoot (LCD and VF) and color correct! Moreover, any video productions created before the transfer to film will need to be gamma corrected so the video will look like the film will look.
These are non trival problems to solve, but when folks want to shoot film using a video camera -- this is the challenge they are undertaking.
P.S., Panasonic offers such monitors because their Varicam offer three types of gamma just like the HD100: Video (STANDARD), film look (CINELIKE), and film (FILMOUT).
You will likely create a custom Color Matrix for use with FILMOUT gamma. Creating this Matrix is like choosing the film you would use were you shooting film.
Anyone who has used a Varicam -- please post your experiences!
__________________