We've been getting some interesting scene file contributions lately, so I though it would be best to keep track of them here in one sticky. If you have a scene file to contribute, please start a new thread, give it a unique name that describes its look or purpose, and explain its use. I will then add it to this top post.

There are two ways to put a scene file on the HD100/101:

The slowest method is to manually program in the settings provided in a scene file "recipe" and then store the file on your camera internally or to the SD card.

Sometimes users will provide a link to a .SCN file that can be loaded on to your SD card.
To load a .SCN file onto your SD card you will need a 3rd party SD card reader (or a SD digital camera in MASS MEDIA mode may work.)
The HD100 will only recognize 4 files on a SD card, no matter how big the card is.
The four available file names are EXT1.SCN,EXT2.SCN,EXT3.SCN or EXT4.SCN
Therefore you must rename any downloaded SCN files to one of those four names before copying the file over to your SD card (a simple drag and drop on Mac and Windows XP.) Then just put the SD card back in your camera and load the EXTERNAL files 1 through 4.


WARNING: HD100 .SCN scene files CONTAIN ALL MENU SETTINGS and WHITE BALANCE A & B memory settings at the time it was saved. Therefore you may have to change your frame rate, re-white balance, and modify other settings to your liking after you have loaded another user's .SCN file. Scene files that use WHITE PAINT R or B adjustments require a manual white balance before setting the WHITE PAINT values.


****************************
Here's some links to various scene files:

***My first set of scene files
WIDE-LATITUDE,
LOW-LIGHT,
FILMOUT, and
DVX100 Colour Match settings:
Discussion (http://www.dvinfo.net/conf/showthread.php?t=52256), Recipes (http://www.dvinfo.net/forum/attachment.php?attachmentid=22120&stc=1&d=1300754265), Zipped SCN files (http://www.dvinfo.net/forum/attachment.php?attachmentid=22121&stc=1&d=1300754265)

***My second set of scene files with looks for
FILM NOIR (The Third Man, Touch of Evil),
WARM (Three Kings Act III),
WARM GREEN (Amélie),
BLEACH BYPASS (Three Kings Act I, Saving Private Ryan),
CROSS-PROCESSED REVERSAL (Three Kings Act II),
FILM VERT (The Matrix):
Discussion (http://www.dvinfo.net/conf/showthread.php?t=54053), Recipes (http://www.dvinfo.net/forum/attachment.php?attachmentid=22122&stc=1&d=1300754265), Zipped SCN files (http://www.dvinfo.net/forum/attachment.php?attachmentid=22123&stc=1&d=1300754265)


***Paulo Ciccone's
True Colour v1 Calibrated to DSC chart: Discussion (http://www.dvinfo.net/conf/showthread.php?t=60835), Website with Recipe (http://www.paolociccone.com/hd100-calibration.html)

True Colour v2 Calibrated to DSC chart with added dynamic range: Discussion (http://www.dvinfo.net/conf/showthread.php?t=62456), Website with Recipe (http://www.paolociccone.com/hd100-calibration-2.html)

True Colour v3 with final adjustments for 'real-world' application: Discussion (http://www.dvinfo.net/conf/showthread.php?t=67318), Website with Recipe (http://www.paolociccone.com/hd100-calibration-3.html)



***Stephen Noe's
"Any Scenario" scene file: Discussion (http://www.dvinfo.net/conf/showthread.php?t=60795), Recipe (http://home.comcast.net/~stephenlnoe/steve_settings.gif), Zipped SCN file (http://www.dvinfo.net/conf/attachment.php?attachmentid=34&d=1142514423)

"PanaMatch" scene file: Discussion (http://www.dvinfo.net/conf/showthread.php?t=62612), Recipe (http://www.salatar.com/users/stephenlnoe/browsable/panamach.gif), Zipped SCN file (http://www.dvinfo.net/conf/attachment.php?attachmentid=35&d=1142514437)

"Dark Interior" scene file: Discussion (http://www.dvinfo.net/conf/showthread.php?t=61965), Recipe (http://home.comcast.net/~stephenlnoe/DARKINT.gif), Zipped SCN file (http://www.dvinfo.net/conf/attachment.php?attachmentid=36&d=1142514455)

*****************************

If you are interested in the effects of Black Stretch, Knee and Gamma, then download this quicktime (http://www.dvinfo.net/forum/attachment.php?attachmentid=22124&stc=1&d=1300754678) of my original tests and step through it one frame at a time.

this is the thread i was hunting, for for the last one week, I actually mailed some of you for the files, thanks tim for puting it up.

I got the camera 2 weeks back, i just got time to play with it ( was busy on a feature).

I love the camera, because of its pro features, and easy controls, I shoot a lot with Sony DIGIbeta and Panasonic VARIcam, and i did not have to learn this camera , everything is where it should be with a few things different.

I Just hope FCP starts supporting 720/24 soon, its annoying to change the workflow and convert and all the stuff.

Avi,

Wellcome! A little bit out of topic (intriguing, thou), but since you have experience with shooting with a Varicam, can you share information as to how the recipes (Tim's and Paolo's) compare with your on-the-field experince with the Varicam vs HD-100 visual performance?

Thanks,

Luis Otero


PS

Tim,

Thanks for starting this thread and making it sticky. I was really worry the topic may get lost among the others.

Hi


i am going to be testing out these scene files, and i will post my results soon, I have tried the Varicam with some recipies that i got of a varicam thread.

I am currently busy with finishing post on a varicam feature, so i will have direct footage to compare to.

Cheers
avi

Here is my "Dark" scene file discussion with settings and downloadable SCN file. Tim, Please add this to the top.

Click here (http://www.dvinfo.net/conf/showthread.php?t=61965)

Here is my PANAMATCH scene file with example footage.

Click here (http://www.dvinfo.net/conf/showthread.php?t=62612)


BTW: If dvinfo.net could move the files and supporting video and screenshots to their server it would be much better. I can not guarantee the files or associated video and pictures will stay up on my server. Thanks dvinfo...

Here is my PANAMATCH scene file with example footage.

Click here (http://www.dvinfo.net/conf/showthread.php?t=62612)


BTW: If dvinfo.net could move the files and supporting video and screenshots to their server it would be much better. I can not guarantee the files or associated video and pictures will stay up on my server. Thanks dvinfo...
Thanks Stephen. I'll ask Chris if dvinfo can host the files. They are very very small.

The only thing I couldn't find for Panamatch was the recipe.

Hi guys

I was reading this article written by Michael Bergeron, Panasonic Broadcast about some way to increase the dynamic range of digital camera. http://www.24pdigitalcinema.com/cinegamma.pdf
Refering to the part about the SDX900 FILMLIKE or the DVX100 Cine-like mode, there is some things I am not sure about. It says:
''Panasonic recommends that a scene shot in FILM REC not be exposed much
differently than if it were shot in VIDEO REC (perhaps only 1/3 of a stop) but you will
observe when switching between the two modes that FILM REC looks underexposed in
the monitor by comparison (perhaps by as many as 2 _ stops). In other words, the image will look dark, dull and the darker areas may not be visible on the monitor when viewing FILM REC. ….(….)…

Anything clipped white on the monitor will be
clipped on any reproduction, but areas that look too dark can be recovered in post.
Practically speaking, this means that the convention of setting normal (18% gray)
exposure to 60IRE or 70IRE must be abandoned since it will put most of your subjects in
the highlight area.''

Ok, now lets figure any situations were you won’t always be able to look at a monitor, what decisions should be taken if we know that the goal is to increase the dynamic range of the camera. Should we set for exemple the zebra to 50IRE and match a caucasian skin to it, and recover in post all the info we still have in the dark area? I am not sure I understand it the right way so if you have any idea…
Thank you

If dvinfo.net could move the files and supporting video and screenshots to their server it would be much better. No problem, happy to do it. I'll coordinate w/Tim and we should have these up and available very soon.

Ok, now lets figure any situations were you won’t always be able to look at a monitor, what decisions should be taken if we know that the goal is to increase the dynamic range of the camera. Should we set for exemple the zebra to 50IRE and match a caucasian skin to it, and recover in post all the info we still have in the dark area? I am not sure I understand it the right way so if you have any idea…
Thank you

It depends on how you like to measure exposure. I prefer to use my light meter, assign an ISO/ASA rating to the scene file I'm using, and set zebra to OVER 100% as a warning of what will be clipped. (I use the same method in Digital SLR photography with the clipping alarm.)

If you prefer to shoot as you typically would with other video cameras, then set the zebra to 60-70%, use them as a guide for typical Caucasian skin-tone exposure.

I'm sure everyone has a slightly different method when it comes to the use of zebra bars. That's why having different zebra level tolerances on the HD100 is so helpful.

As for info in the dark areas: The DVCPROHD codec 4:2:2 (and even the DV codec 4:2:0 & 4:1:1 to some extent) seems to handle dark data better than HDV. I have found that I do not have as much control in post bringing detail from the 10 to 25% IRE range as I am used to in Dbeta, DVCPRO50, or even DV.
This is why we have questioned the viability of the FILMOUT curve's use with HDV in other threads.
http://www.dvinfo.net/conf/showthread.php?t=59912&highlight=filmout

http://www.dvinfo.net/conf/showthread.php?t=54171&highlight=filmout

The jury is still out until more of us have a chance to do additional filmout tests, but my general impression with MPEG2 HDV compression is that you should try to get your look as close as possible in camera for the DVD release, and then do a digital intermediate before a filmout.

I've been playing around with the camera for a few days now and have uploaded some of the settings, but it appears that only a certain amount can be in the camera memory at a time. Are there a limited amount of presets that can be loaded into the camera? If that's the case I'm guessing that it would behoove me to purchase a couple more SD cards and load them with the presets and load them as I need them.

Michael Escher
www.ranchocalamari.com
Los Angeles, CA, USA

Michael,

Yes, there is a limit of only 4 presets. Since they are not expensive, it is a great idea to get multiple cards to hold more scene files.

Luis

Hi
just set my GYHD101E to film out and TCV2

i personally like the paulo's TCV2 as more flat and leave more room for me to work on post. i believe that i can manage to make an ideal dynamic range for film output.

i think most cinegamma is meant for video to present as it's on TV, but for film output I think it;'s not ideal.


color wise, i set it back to normal, as i find it;s a bit cool.

Thanks Paulo, u r great
JY

i personally like the paulo's TCV2 as more flat and leave more room for me to work on post. i believe that i can manage to make an ideal dynamic range for film output.


Hi John.

Glad to see another satisfied "customer" :)

Glad to see another satisfied "customer" :)

Me too!!!!!!!!!!!!!!!!!!!!!!!! (with master black to "0")

Laszlo

Hi:

I just got my HD-100 and really love the HD performance, I also have a DVX-100A but the HD detail on the JVC HD -100 on a big screen is amazing. It takes a little practice to get use to the change to a shoulder mount camera, I don't have the Anton Mount yet, have to wait until it comes in ( 2 weeks) , so it is a little front heavy, and slides around on your shoulder when shooting. I tried shooting a live Skate Concert on the 2nd day I had the camera, the footage could have been alot better. I had used the camera for about 15 minutes on the standard battery to shoot other footage before I got there. Well, besides having about 20 minutes left on the only tape I had on me (I got a head cleaning message), so I Fast Forward and then rewinded the tape to hopefully find a clean spot on the tape. Well besides having a couple of skipped frames, the results were still amazing ( considering I am just learning how to make this camera work). Anyone that wants to look at the 30fps results, the file is available on my website for viewing (its in a windows .wmv degraded to 384Kbps and it still looks not bad for a newbee on full automatic, bad lighting, and so on)
<a href="http://www.portstanleynews.com/TV/Skate1.wmv">http://www.portstanleynews.com/TV/Skate1.wmv</a>

The question I would like to ask is "are the scene files besides the True Color available in just plain text so I can input them manually, because I don't have a SD card reading, writing equipment?
Thanks

Hi:
The question I would like to ask is "are the scene files besides the True Color available in just plain text so I can input them manually, because I don't have a SD card reading, writing equipment?
Thanks

Hi Doug, welcome to the club :)

Tim's settings are avaibale in text format, click on the "recipes" link in the first message and you'll get a PDF with the textual description of the configuration.

Thanks Paolo,

I guess I should have looked a little closer, Thanks for the directions.
Well, I will give them a try as the standard look seems bland.

Hi:

It takes a little practice to get use to the change to a shoulder mount camera, I don't have the Anton Mount yet, have to wait until it comes in ( 2 weeks) , so it is a little front heavy, and slides around on your shoulder when shooting.

Doug, Not to get too off topic but I just got my AB adapter and used a Dionic on it. Sweet balance! I had shot all weekend with the standard JVC battery and agree, its a little front heavy. You will most likely love the weight with your Anton Bauers. I'm not sure it would be very good with a hytron or the old bricks, though. I'll post when I find out.

The IDX adapter, which I rented for another unit weighted out fairly well.

Hi,

I've added the "Panamatch" menu screen grabs (http://www.salatar.com/users/stephenlnoe/browsable/panamach.gif)to the Panamatch discussion (http://www.dvinfo.net/conf/showthread.php?t=62612) in case people would like to try the file but do not have a card reader.

all the best...

Hi,

I've added the "Panamatch" menu screen grabs (http://www.salatar.com/users/stephenlnoe/browsable/panamach.gif)to the Panamatch discussion (http://www.dvinfo.net/conf/showthread.php?t=62612) in case people would like to try the file but do not have a card reader.

all the best...
Thanks Stephen. I fixed the link in the top post.

Tim,

Every link is working for me, except the ZIP files ones. It takes me to a DV Info Net Error Message, saying that I do not have "sufficient privileges".

Luis

I got a gig DP'ing a short film for an up-and-coming Chinese director for film festival release. He took one look at my hot new camera and said, "yay, let's shoot!" We're going to be transferring to 35mm - I'm going to try out Paolo's TCV2 since I want to preserve every ounce of data for the color correction and digital intermediate stages. I'll let you guys know how it turns out.

Alexei,

Paolo recently published a V3 of his setting. You may want to check them out, along with his comments as to why he is recommending the new parameters.

Luis

Alexei,

Paolo recently published a V3 of his setting.

Luis

I just took a quick look around. Where's that recipie posted?

Hey,

It is posting #11 of this thread: http://www.dvinfo.net/conf/showthread.php?p=475033#post475033

Hope this helps...

Luis

Anyone tried to match settings on the HD100 and the HVX200? I will be shooting a doc with both cameras...

Been there and tried that. I would maybe take another approach.

You might find that by setting the JVC to Paolos DSC matched setting and then working to match the HVX to a DSC color chart as well, might be a better approach. As a side note... I wonder if the HVX will gain you as much color latitude as does the JVC. I say this because although the HVX did a great job right out of the box in regards to color reproduction; it did not have nearly the range / latitude as did the JVC. This added topic is for another thread, sorry.


The only look of the HVX was softer with less detail. So the first thing you will want to do is to turn OFF detail on the JVC, (even a min setting was higher than the HVX in my opinion). then work on color.

Thanks Daniel, I will try that!

What is the difference between using scenefiles (like TrueColor 1/2/3) to bump color & other variables during shooting, than doing it during post production inside NLE or other software?

assuming:
* Electronic sharpness is controlled or MIN/-7
* That I have time/desire to do minor tweaking anyway.

If you record widest possible bland image (maybe default settings or some wide DR scene), you have the freedom of tweaking it during post.

So, are SCN files used to save time during post or when post production is not a luxury...

Ram,

The way I have always used the V3 of Paolo's Scene File is to get as much as possible latitude of the colors present during shooting. It is then when you can go to post and tweak, only if necessary, your footage.

In other terms, it provides you as accurate color representation of the colors (hence called "True Color") as possible, as opposed to RAW type of footage, in which you MUST do in post a lot of tweaks to develop the color palet that best suite the intention or the mood of the scene.

I know is sometimes difficult to grasp this concept, but the HD100 has no RAW sensor, hence you must set the parameters in camera to obtain the best representation of the true colors during your shooting process. Still you can do more tweaks during post, but they are, IMO, minimal. That is why I love them!

Hope this helps,

Luis Otero

Thanks Luis - thats the answer I was looking for.

Hey Tim.

I didn't notice that you updated the sticky to include TC 3 until today.
Thanks!

Hi Ram.

Luis already explained part of this but I just wanted to be add a couple of things. Difference scene files are published with different purposes. Sometimes you might want to create a definite look in the camera. This could be the case of a video production where you don't have much time to do post work before it's shown in your local news channel. In this case tweaking the camera to adapt it to the situation could be the best option you have.

In the case of "TrueColor" the idea was to get the most 1:1 configuration I could find. It's not about creating a "look" as much as giving you the most color information in order to create the look in post. The factory settings for the HD100 are not very accurate. Having said so, a lot of people use TC the way it is, with very minimal post work.

Hope this helps

I am about to shoot some stuff and I wanted to use some of your files. I just wanted to know if you have any updates on your files, form your own shoot or others, and if so, what are they?

Hi,

When you were setup with the DSC chart and did your adjustments, did you use ITU-709 as the reference for the color gamut?

S.Noe

Just got the JVC HD100.
I need all the help for the setting.Thanks a lot for all the great works.
Having problem downloading the recipe of Panamatch of Stephen L. Noe.

NE! make a mirror?



TIA

Hi,
When you were setup with the DSC chart and did your adjustments, did you use ITU-709 as the reference for the color gamut?

Hi Stephen.
I used DVRack with what it was the Vscope agt that time. I looked at the difference between 601 and 709 and there are pretty small. Here is a link to DSC's founder white paper about it. You can see the two color spaces side by side. http://dsclabs.com/Image%20Optimization%20040227.pdf
I have updated DVRack and I'll re-run the test and post the results asap.

Anyone have the settings for Fincher's "Seven" and Spielberg's "Munich."?

Anyone have the settings for Fincher's "Seven" and Spielberg's "Munich."?
Hi Brian,

I answered the Munich question in your other thread.
http://www.dvinfo.net/conf/showthread.php?p=516824

Khondji also used a silver retention process for Se7en, but it is slightly different than Technicolor's ENR that Kaminski usually uses.
Se7en utilized Deluxe's CCE process, which has more grain and is even higher contrast.
So, I would suggest that to emulate Se7en, put the HD100 on +6dB and use my Bleach Bypass setting. You may want to increase the colour saturation slightly though.

Thanks Tim. You're The Man...!

Since I use the Mini35 to shoot and sinc eit already has substantial amount of grain, is it still wise to put the Gain up +6?

Thanks Tim. You're The Man...!

Since I use the Mini35 to shoot and sinc eit already has substantial amount of grain, is it still wise to put the Gain up +6?

It is really up to you and what you can tolerate for post-production and final print. Personally, I avoid gain at all costs. If you really want to add more grain, there are plug-ins that do it well.

Just a quick question regarding scene files and user settings- Say I have a 256 MB memory card. Would I be able to set up all of these scene files on it, or am I limited to only a few?

you can only put 4 scene files on a card name EXT1 thru EXT4

you can pop the card into your PC ... this is such a dopey limitation, espcially since the scene files are so small.

so if you have some old 16mb/32mb cards, this is the perfect use for them.

Steve Oakley

Actually, it's more like I bought the wrong 256MB flash card for the Rebel, and discovered it will fit into the HD100. Just trying to find a use for it ;)

Actually, it's more like I bought the wrong 256MB flash card for the Rebel, and discovered it will fit into the HD100. Just trying to find a use for it ;)
A good solution is to have daytime oriented scene files on a card and night time oriented scene files on another.

This is one of the items on the wishlist that got overlooked (badly). 4 scene files is not much, is it?

4 scenes is plenty, if'n you're still trying to figure out how to use them.

Are these recipes just for tv purposes or will it work on the big screen as well?

Are there any considerations/modifications to be made in the recipes if the final objective is a 35mm print?

Thanks for all help.

Are these recipes just for tv purposes or will it work on the big screen as well?

Are there any considerations/modifications to be made in the recipes if the final objective is a 35mm print?

Thanks for all help.
It really depends if you will have the means to perform a D.I. (Digital Intermediate) or if you will be dependent on strictly optical/chemical lab post processes. If you will not be performing any D.I., then there are considerations with the level of black stretch used to cope with the limitations of 8-bit sampling and choice of exposure index to balance highlight control and desired shadow detail.
There are two schools of thought: "Get it as close as possible in-camera" or "aquire as much information as possible and colour-correct later."
The detail level should also be set very low or at min.
We've discussed these things many times before. Try a search for posts by Andrew Young or myself with the keyword "filmout" or "detail."

I will. Thanks a lot, Tim.