So far these are the settings I have been using:

CINE MODE with Custom set to -
Sharpness +1 (Does nothing to the picture)
Contrast -1
Brightness -1
Color 0

Quite frankly this is working excellent for me. I still want to try it with the contrast set higher but i am a happy camper so far.

Robert I don't even try to sharpen it in post. It is less sharp than normal mode but I find that it makes the overall picture less videoy. Overall it's still sharp with lots of detail. I think my eyes had to warm up to this look and I like especially knowing that I could do a bit more in post with mode.

Thanks for sharing! The reason I asked were this past weekend I had the lucky chance to monitor and colour-correct from the best LCD HD TV i've had the honour of seeing. I twas really nice to see my footage as it was meant to be. Taught me alot about how HDV really looks. I will continue to swear by the HV20 and CINE mode from now on. Sony Z1U and FX1 footage truly looks awful an grainy compared to the Canon.

G Film Chroma Sharpen Plugin really saves HDV footage.. makes 4:2:0 look like it was always 4:2:2. Best post-HDV camera investment yet ($100!)

And Ian, I agree.. it's plenty sharp while retaining the natural look. It amazes me how high Canon set the bar - I am so pleased.

Hey guys, looks like we are all coming to some very similar CINE MODE settings, for me it's:

CINE MODE with Custom set to -
Sharpness +1
Contrast 0
Brightness 0 (or -1 but undecided*)
Color +1

*I say undecided because checking all the subtle changes via TV, I really cannot see that changing the Brightness is making any change at all, not even remotely subtle. I can definitely tell changing the other three settings makes a visually noticable difference, but I'm not convinced that Brightness is doing anything in CineMode. (but I could be wrong)

To reply to Fergus' comments about the Sharpness not seeming to do much. I had thought that originally too, and it took me finding the right subject matter to point the camera at to actually see the differences while monitoring on the TV. I zoomed in all the way onto the strings/frets/pearl-inlays of a guitar neck...it was all those horizontal/vertical lines that actually allowed me to see the difference in sharpness settings. In fact, as I write this, I think I will pull out a spool of thread and test with that as well. Anyway, my conclusion is that the Sharpness setting does make a difference.

Now...if anyone could give me an example of how to prove the Brightness setting under Cine Mode works, please tell me how.

I zoomed in all the way onto the strings/frets/pearl-inlays of a guitar neck...it was all those horizontal/vertical lines that actually allowed me to see the difference in sharpness settings. In fact, as I write this, I think I will pull out a spool of thread and test with that as well. Anyway, my conclusion is that the Sharpness setting does make a difference.
Hmm.. that is good to know. It must be a more subtle change than in the other modes. When I am in TV mode I can see what is happening when I toggle between -1, 0, and +1. But in Cinemode I am unable to tell. This goes to show that we really can't rely on the cams LCD Display to tell us the whole story. Interesting indeed.

Well, after much experimentation, I finally "get" the HV20 much better. I had previously read Barry Green's Controlling Exposure article and admit that is still had me scratching my head about some things.

But, I just came to the realization that if you've got the camera set for HDV(24p) and CineMode, and using the half-pressed photo button, you can pan the camera around the room half-pressing the photo button to check settings, and there can be a "video sweet spot" that's got a shutter speed of 1/48 and and F-stop that produces a really well-lit image...then by changing the EXP setting, you temporarily move away from the 0 setting (I did -1), then immediately back to 0 (then press SET to exit) and the camera will be completely locked into unchanging settings.

I was able to find a "video sweet spot" that allowed me to lock the camera with a F2.2 and 1/48 settings. As I pan around the room and check things out via my TV as a monitor, what I see with my own eyes is what is showing on the TV, and there is absolutely none of the auto-shutter, auto-aperture thingy happening that makes the image change in undesirable ways...continuous re-pressing of the photo button (as you point the camera towards areas that are lighter to darker) completely confirms that all the settings are locked and nothing is changing.

You can then add any additional lighting to taste to fill in any areas that may need some help that cannot come from the camera since its settings are locked.

I just came to this thread blindly and will give you my reason for Cine. I'm a wing it kind of person and definitely not as sophiscated and knowledgeable as most of you. I was shooting video at an 8 day bluegrass festival last week and for some reason I decided to venture away from my usual TV mode to Cine. Frankly, I liked how it looked in the cameral LCD display when I viewed what I was shooting in Cine mode. Once I saw the difference and liked it, I didn't go back to TV for the whole week. I'm now starting to edit my files. I will not be doing any color, contrast or other changes in post. I've already previewed several tapes playing directly from my camera via HDMI to my 32" LCD display and am lovin' what I am seeing. Of course my love of the music and the artists doesn't hurt. So IMHO, I think Cine mode is great and will probably continue to shoot most of my videos in Cine.

I just came to this thread blindly and will give you my reason for Cine. I'm a wing it kind of person and definitely not as sophiscated and knowledgeable as most of you. I was shooting video at an 8 day bluegrass festival last week and for some reason I decided to venture away from my usual TV mode to Cine. Frankly, I liked how it looked in the cameral LCD display when I viewed what I was shooting in Cine mode. Once I saw the difference and liked it, I didn't go back to TV for the whole week. I'm now starting to edit my files. I will not be doing any color, contrast or other changes in post. I've already previewed several tapes playing directly from my camera via HDMI to my 32" LCD display and am lovin' what I am seeing. Of course my love of the music and the artists doesn't hurt. So IMHO, I think Cine mode is great and will probably continue to shoot most of my videos in Cine.


John:

How did you mic it ?

To reply to Fergus' comments about the Sharpness not seeming to do much. I had thought that originally too, and it took me finding the right subject matter to point the camera at to actually see the differences while monitoring on the TV. I zoomed in all the way onto the strings/frets/pearl-inlays of a guitar neck...it was all those horizontal/vertical lines that actually allowed me to see the difference in sharpness settings.Nathan, may I ask you to extract some jpg photos of your videos at sharpness = 0 and at sharpness = +1 (and why not +2) to permit to us to appreciate the exact latitude of these sharpness settings?

Thx

thanks Nathan - it seems pretty subtle but I would love to see some jpg's.

Personally I find an obvious change when putting the contrast to +1 (from -1) It does darken the blacks and loose some of the greyness to the image.

Hey guys, looks like we are all coming to some very similar CINE MODE settings, for me it's:

CINE MODE with Custom set to -
Sharpness +1
Contrast 0
Brightness 0 (or -1 but undecided*)
Color +1

*I say undecided because checking all the subtle changes via TV, I really cannot see that changing the Brightness is making any change at all, not even remotely subtle. I can definitely tell changing the other three settings makes a visually noticable difference, but I'm not convinced that Brightness is doing anything in CineMode. (but I could be wrong)

To reply to Fergus' comments about the Sharpness not seeming to do much. I had thought that originally too, and it took me finding the right subject matter to point the camera at to actually see the differences while monitoring on the TV. I zoomed in all the way onto the strings/frets/pearl-inlays of a guitar neck...it was all those horizontal/vertical lines that actually allowed me to see the difference in sharpness settings. In fact, as I write this, I think I will pull out a spool of thread and test with that as well. Anyway, my conclusion is that the Sharpness setting does make a difference.

Now...if anyone could give me an example of how to prove the Brightness setting under Cine Mode works, please tell me how.

Okay everyone, you asked for a photo showing the differences between the sharpness settings on the Canon HV20. It's actually a .BMP image at about 3.7MB, but when uploaded to Flickr, they turn it into a .JPG image...which actually hasn't lost any of the quality, so you are still able to see the sharpness differences.

http://farm2.static.flickr.com/1233/576313192_864dff12e5_o.jpg

For those that would still like to see the original .BMP image, you can find that here:

http://vettaville.com/images/canon%20hv20%20sharpness%20capture.bmp

Okay everyone, you asked for a photo showing the differences between the sharpness settings on the Canon HV20. It's actually a .BMP image at about 3.7MB, but when uploaded to Flickr, they turn it into a .JPG image...which actually hasn't lost any of the quality, so you are still able to see the sharpness differences.

http://farm2.static.flickr.com/1233/576313192_864dff12e5_o.jpg

For those that would still like to see the original .BMP image, you can find that here:

http://vettaville.com/images/canon%20hv20%20sharpness%20capture.bmpWell....I'll be a monkeys unc.... that settles that!!!!


Now my question is...is this in the Cinemode setting?

Well....I'll be a monkeys unc.... that settles that!!!! Now my question is...is this in the Cinemode setting?

Yes Ian, that is in CineMode. :o) But it also makes me think that it might be good to stick with a setting of 0 when in CineMode and just sharpen in post, which would give you far more control than doing it in-camera. As I said previously before posting the pics, it's a very subtle difference in sharpness, but you can actually see it in the LCD if you really pay extremely close attention as you step through each of the sharpness settings, but you do have to really look for it on the LCD, and it's all subject to something that will really let you see the subtle changes. Granted, having a nice large captured image makes it much more easier to see the differences than the LCD.

John:

How did you mic it ?

I put a dynamic seinheuser (don't know the model but it cost around $125 from the Guitar Center) mic on a stand about 2 to 3 feet in front of the speaker platform and ran a cable to my XLR Pro and into the external mic input. I would say the mic was about 8 to 10 feet off the ground. During the afternoon heat, I setup right under the speaker farm and shot from about 10 foot to the side and 5 foot in front of the stage. I rigged three 25' cables together and ran them over and up the isle to my sixth row isle seat. Their was a 6" PCV pipe cut in half that ran up to the sound guy with the snake under it. I just ran my cable under this pipe and pulled it out by my seat. This is outdoors and on the first day eveyone sets up their chair or chairs and leave them for the whole time they are there. I was at this festival for 8 days. I sat in my chair and taped in the late afternoon and at night. When I taped from under the speaker farm, I just plugged the first cable from the mic to my XLR Pro. I'll post some links. Right now I only have a few clips posted and I think the ones I shot at the stage may have been before I setup the external mic. I'm guessing this because it seems like I hear a little bit more audience than I heard on other tapes. The first one below, I shot right near where I was camped and setup my mixer and a couple mics to tape a family jam. It was one of my first tapings and it was in TV mode. I'm not sure if I chose the best output for my website or not. I'm seeing a little distortion on my LCD display at work but I went to another computer with a standard CRT monitor and it looked fine. I captured, edited, and rendered these with Pinnacle 10.7. I'm not a pro. This is just a hobby connected with my passion for this music.

http://www.johnhartford.org/video/beanblossom2007/BB-OliphantJamP1-OldJoeClark.wmv

http://www.johnhartford.org/video/beanblossom2007/BB-WildwoodValleyBoys-JerusulemRidge-Part3.wmv

http://www.johnhartford.org/video/beanblossom2007/BB-WildwoodValleyBoys-OrangeBlossomSpecial-Part3.wmv

PS - My software doesn't have color wheels so I'm not sure if I can do the kind of post tweaking that I see people say needs to be done with Cine recordings. If I upgrade to a more sophisticated RLE, I may experiment a little but for now I'll go with how it comes from the tape.

I would use Cinemode all the time if it was possible to use 120-250shutter speed.. Canon, uhää why did you crush the possibility =(

Wow! What a cool forum. I'm a proud owner of a HV20 and have followed this thread from the get. First, I'd like to thank everyone for posting their experiences with this camera as it has saved me many hours of figuring all this out. I had this thought that perhaps many of you more expert users of the HV20 might consider producing an E-book, a professional users guide for this camera? Just a thought, I for one would buy it.

I put a dynamic seinheuser (don't know the model but it cost around $125 from the Guitar Center) mic on a stand about 2 to 3 feet in front of the speaker platform and ran a cable to my XLR Pro and into the external mic input.....



John:

I just previewed the first one. My DSL is hanging a bit here today, but I'll download all later. Thanks for posting them. I saw the first one, and it was very nice and the sound was great.

My brother and his wife are long time musicians and are heavy into the blue grass scene here in California. The go to two big events a year, both at Strawberry Lake in the Sierras, one on Memorial Day weekend, the other on Labor Day.

I am amazed at how this camera can do so much.

In a 48 Hour Film shoot I was in this weekend, we shoot with my Sennheiser ME66 run through a field mixer. This first time I used a field mixer on anything. It was great to be able to level the camera using the generated tone, and the result was consistent and clean sound-- at least as good as you can get it in a 48 Hour film festival setting....

It was great to be able to level the camera using the generated tone, and the result was consistent and clean sound-- at least as good as you can get it in a 48 Hour film festival setting....

Chris...do you recall what dB level the generated tone was at? And how were you able to level the camera since it only shows a couple different dB settings in the LCD?

PS - My software doesn't have color wheels so I'm not sure if I can do the kind of post tweaking that I see people say needs to be done with Cine recordings. If I upgrade to a more sophisticated RLE, I may experiment a little but for now I'll go with how it comes from the tape.

You still can tweak your footage with basic edition software, try the contrast, sharpness, color settings to give more "punch" to the image. You can also try subtle changes in the "hue" setting to make the image warmer or colder.

Okay everyone, you asked for a photo showing the differences between the sharpness settings on the Canon HV20. It's actually a .BMP image at about 3.7MB, but when uploaded to Flickr, they turn it into a .JPG image...which actually hasn't lost any of the quality, so you are still able to see the sharpness differences.

http://farm2.static.flickr.com/1233/576313192_864dff12e5_o.jpg

For those that would still like to see the original .BMP image, you can find that here:

http://vettaville.com/images/canon%20hv20%20sharpness%20capture.bmpMany thanks, Nathan, for the comparison of the sharpness setting in Cinemode.

So, I presume that, spite some users' posts saying the contrary, the color, Brigthness and contrast adjustments are appliable on the Cinemode too.

Chris...do you recall what dB level the generated tone was at? And how were you able to level the camera since it only shows a couple different dB settings in the LCD?

The tone generated was a 1 KB tone, if I recall, and we ran it to 12 on the DB meter on the camera. We saw the film tonight at the theater, and we certainly had it right because the sound was a lot better than most of the productions.

So, I presume that, spite some users' posts saying the contrary, the color, Brigthness and contrast adjustments are appliable on the Cinemode too.

I actually just shot a full tape using CineMode outdoors in bright daylight. I had hesitated before b/c I was concerned I'd end up with shutter speeds of 1/100th or more. But even in the brightest conditions, the SS held at 1/48th. I think the SS drift will be more likely at the low end but I know I can check my my SS and apeture and then lock EXP.

As to the quote above, yes Bruno, you can use the Custom settings while in CineMode. I'm shooting color depth +1, contrast +1, sharpness +1, brightness 0. No blown highlights, good sharpness and better contrast. I had been shooting Tv mode with color depth +1, sharpness 0, and contrast and brightness -1 but I was still getting some blown highlights and little too much contrast for my tastes. (I always shoot in 24p BTW). So I'm happy CineMode seems to stick to 1/48th as much as it does. I'll probably be using it exclusively now.

John:

I just previewed the first one. My DSL is hanging a bit here today, but I'll download all later. Thanks for posting them. I saw the first one, and it was very nice and the sound was great.

My brother and his wife are long time musicians and are heavy into the blue grass scene here in California. The go to two big events a year, both at Strawberry Lake in the Sierras, one on Memorial Day weekend, the other on Labor Day.

I am amazed at how this camera can do so much.

In a 48 Hour Film shoot I was in this weekend, we shoot with my Sennheiser ME66 run through a field mixer. This first time I used a field mixer on anything. It was great to be able to level the camera using the generated tone, and the result was consistent and clean sound-- at least as good as you can get it in a 48 Hour film festival setting....

Boy Chris, I wish I had your expertise along with a few others here in this and the HV20 forum. I have many years computer experience, about 2 years video camera experience, and a year or so monkeying with improving sound capture while shooting video. I'd like to go to a festival and know exactly what to do to capture the best audio and video with what I have and not need to wing it like I usually do. Example: I had no idea when I setup the mics for the camp jam where to position them and if they were to close together whether that would be a problem. I have a $100 headset and I would either plug into the mixer or the camera and move the mics around and adjust the mixer till I felt I was getting a decent sound. This doesn't seem to be a very professional way of doing things. I noticed that I can't seem to rely on what I hear when plugging th headset into the camera for monitoring. It usually records a lot better quaility than what I hear this way. It seems like I get a much better feel for the audio when I listen to the output from the mixer (not the master out) but I'm not sure. I also wasn't sure how for I needed to place the mic in front of the stage speaker farm. It was so loud that it actually hurt my ears to be near the farm and even sound distorted at times but the mic seemed to pick it up OK. I'll post some samples soon of some stage performances I know for sure came from the mic near the speakers.

I actually just shot a full tape using CineMode outdoors in bright daylight. I had hesitated before b/c I was concerned I'd end up with shutter speeds of 1/100th or more. But even in the brightest conditions, the SS held at 1/48th. I think the SS drift will be more likely at the low end but I know I can check my my SS and apeture and then lock EXP.

As to the quote above, yes Bruno, you can use the Custom settings while in CineMode. I'm shooting color depth +1, contrast +1, sharpness +1, brightness 0. No blown highlights, good sharpness and better contrast. I had been shooting Tv mode with color depth +1, sharpness 0, and contrast and brightness -1 but I was still getting some blown highlights and little too much contrast for my tastes. (I always shoot in 24p BTW). So I'm happy CineMode seems to stick to 1/48th as much as it does. I'll probably be using it exclusively now.

Peter Im pretty much in the same boat as you, although -1 for contrast and brightness helps in TV mode I still think cine is the way to go and like you said by upping the contrast in cine you gain some contrast without blowing the highlights. It sharpens well in post so Im happy :)

As to the quote above, yes Bruno, you can use the Custom settings while in CineMode. I'm shooting color depth +1, contrast +1, sharpness +1, brightness 0. No blown highlights, good sharpness and better contrast. I had been shooting Tv mode with color depth +1, sharpness 0, and contrast and brightness -1 but I was still getting some blown highlights and little too much contrast for my tastes. (I always shoot in 24p BTW). So I'm happy CineMode seems to stick to 1/48th as much as it does. I'll probably be using it exclusively now.Thanks for your answer.

But I presume that the fact the HV20 sticks to 1/48th even in Cinemode have more to do with the the selection of the 24p mode. I just say that because people can confuse your remark: Cinemode changes the averall look (gamma, contrast,...) to mimic the film color look, but the 1/48th comes from your choice of 24p.

Personnally, I've planned to use the Cinemode in normal interlaced mode.

Personnally, I've planned to use the Cinemode in normal interlaced mode.

Gotcha. But I can't answer that question since I've never put my camera in 60i. I'd guess you'd be around 1/60th, maybe someone else can address that.

never mind
I think I misunderstood the post I was replying to.

The main issue I see is that we're concerned with the shutter passing 1/48, but reports in this thread are saying it's sticking close to it.

Is that what most others are finding? (How do we check again?)

The main issue I see is that we're concerned with the shutter passing 1/48, but reports in this thread are saying it's sticking close to it.

In cinemode it basically sticks to 1/48th unless you are shooting in too low light. Unfortunately, at that point it starts to quickly jump to 1/32, 1/24 etc

Is that what most others are finding? (How do we check again?)

Press down the still photo button half way and the info will appear in your display

Yes, but don't forget you can lock it in 1/48 by locking the total exposure. Again, other are setting an exposure by using a cell phone screen, or a PS2 screen to lcok the exposure, and then use the exposure adjustment to open up a bit. They can monitor the shutter speed by half way depressing the photo button and see what the Canon adjustments are as the exposure is adjusted.

Found this: http://videotreffpunkt.com/thread.php?threadid=2488 a really nifty software that tells you the gain so you can calibrate your cam.

can anybody translate the above link ( post 80)

I used Babelfish - inputted the URL and it translated to loose english. It was a bit too much to post here, and it should be it's own thread if it's going to be of interest. Personally, I think it looks to be more trouble than it's worth, but thank you for sharing Greg.

http://babelfish.altavista.com/babelfish/tr

Personally, I think it looks to be more trouble than it's worth, but thank you for sharing Greg.
IMO, this little tool is amazing. Like Greg said, you get to see Gain values. You also see effective Aperture (a combined Aperture / ND value).

Now, if I could only figure out how to lock the exposure at 1/48...

Let me know if anyone needs a specific translation from German (from the mentioned website). I just hope my english is good enough for you...! ;)

Let me know if anyone needs a specific translation from German (from the mentioned website). I just hope my english is good enough for you...! ;)

Well, Enea, that's very kind of you to offer! If it's not too much of fa hassle I for one would be interested in a decent translation. Perhaps it needs its own thread.

best,
elmer

ps now if you could translate a couple Thomas Mann novels...

Yes, but don't forget you can lock it in 1/48 by locking the total exposure. Again, other are setting an exposure by using a cell phone screen, or a PS2 screen to lcok the exposure, and then use the exposure adjustment to open up a bit. They can monitor the shutter speed by half way depressing the photo button and see what the Canon adjustments are as the exposure is adjusted.

Hey Chris, do you mean in Cinemode one can lock the exposure by toggling with the SET button?

Also, I'm a bit confused, nothing new I admit, but from "Again" in your post I don't quite get what you mean. Is that the way to lock exposure or to get more latitude in the settings? And not having a cell phone or a PS2 (yes, I live in a cave) why wouldn't a sheet of white paper do?

jus' curious,
lmr

It would have to be an evenly, brightly illuminated sheet of white paper to work.

Roughly translated, the goal is to saturate the sensor with enough light to force it (the automatic controls) to close everything up (high F-stop/high shutter speed) and turn down the electrical gain (because it's so bright). Then with exposure locked you have as much manual control over the optical system (by way of the Exposure setting) as you can get before electrical gain kicks in.

...At least that's my understanding of how things are working.

Aside: I've found the white background of my video iPod works too.

Andrew.

(edited to change "open everything up" to "close everything up" and "low F-stop" to "high F-stop")

Hey Chris, do you mean in Cinemode one can lock the exposure by toggling with the SET button?

Also, I'm a bit confused, nothing new I admit, but from "Again" in your post I don't quite get what you mean. Is that the way to lock exposure or to get more latitude in the settings? And not having a cell phone or a PS2 (yes, I live in a cave) why wouldn't a sheet of white paper do?

jus' curious,
lmr

Use a limestone cave wall, lighted by a torch,,,,:).

The point is before you activate exposure adjustment by depressing the joystick, you can first lock it in a non gain mode by pointing it a a fairly bright light source. As you are doing that, you activate exposure using joystick, at at that point, the camera is locked at the current exposure. You can then use the joystick to slide up and down the exposure. Eventually as you go to the plus side of exposure, you are going to break back into the gain being added, but at least this gives you a choice. If your scene is dark, you can make the choice of adding the exposure adjustment up. What people are saying here, is they want to have situation where or the ability to let the shadows go black, without camera trying to adjust exposure.

Andrew and Chris describe it well - of course, it helped I saw the Quicktime video they're referring to too - highly recommend everyone watches it!

http://www.dvinfo.net/media/canon/hv20aperturecontrol.mov
Patrick Jennings video about HV20 aperture control.
I'd think pointing at the sun should work too ;)

If it's not too much of fa hassle I for one would be interested in a decent translation.

Actually, I like translation work, no problem! Now what exactly would you like to know (I suppose technical information is most important)? I'm just asking because the thread on that website is 9 pages long (close to 200 posts!), that would come close to translating Thomas Mann! ;)

Since everyone has started talking about controlling exposure on the HV20 again, I thought I'd post the link to the MUST READ article by Barry Green about doing this. I suggest you print it out, then read it over and over again, because it may not technically click in your mind too quickly...it didn't for me. It took several days before the light went off. LOL!!!

Controlling Exposure on the Canon HV20 by Barry Green
http://www.dvxuser.com/jason/hv20/

And not having a cell phone or a PS2 (yes, I live in a cave) why wouldn't a sheet of white paper do?

Hey...I was out shooting footage from inside my car and used a white napkin to point the camera at before locking the exposure. Now, I did have to move the napkin around to find just the right amount of light falling upon it that gave me a usable range of exposures (either side of 0) that didn't change the shutter speed. I found using my PSP to lock the exposure works best for indoors. So I improvised using the napkin outdoors in the car.

Actually, I like translation work, no problem! Now what exactly would you like to know (I suppose technical information is most important)? I'm just asking because the thread on that website is 9 pages long (close to 200 posts!), that would come close to translating Thomas Mann! ;)

Hi Enea!

Hopefully a couple wiser voices add to what I say, they may even say it's not so special, don't bother, but if as Greg Tay says, it's "a really nifty software that tells you the gain so you can calibrate your cam," if you could translate what specifically speaks to that, that'd be great. Only if it isn't novel-length!

best,
elmer

@ Chris Barcellos, Andrew Plumb, Nathan Shane

I just got a call from Geico...

Oh, your the guy in the Geico commercials......:)

Screen grabs using Cinemode in my post in http://www.dvinfo.net/conf/showthread.php?t=93569

Here's how you can calibrate your cam using the HDV monitor program. I use my cellphone o2 XDA atom where I can adjust the lcd screen brightness in varying levels from 1-10. You can use your nokia to take pictures of a range of different shades of white/greyand use that. I then put the lcd in front of the lens and let the hv20 automatically adjust the exposure. I can see the values in the HDVmon. I readjust the lcd brightness until I get a reading that gives me 50 shutter(PAL version), f1.8 or 2.0 (wide open) and 0 gain, then I lock exposure. so 0db exposure is really 0 and anything above that is adding gain.

I did a test by shooting an entire party using this mode. It was an evening party and it seemed to help in minimizing low light artifacts. (Im a beginner on this camera) I tweaked color and light in post with pretty good results. I have Final Cut Studio 2 which has “Color” a new app that Apple acquired for color grading and finishing work. WOW !!! This app when owned by Silicon Color cost like $25,000. Used a lot in motion picture work and Apple is just giving it away in the new suite for $”0” The code in that app is far superior for this kind of work than anything else on the market unless your ready to spend what you ordinarily spend for a luxury car. :-)

http://www.apple.com/finalcutstudio/color/

(...) if you could translate what specifically speaks to that, that'd be great. (...)

After reading the whole thread on that german website, I really don't know what to translate. The tool itself seem to be self-explanatory. Just a few things that might be important:

By the checkbox "pref. M.C. Decoder", you can force the tool to use the Mainconcept Mpeg2 decoder...when you've got that one installed on your system, that is. There seem to be some issues with other decoders not correctly displaying the whole picture (black lines on the bottom).

The latest version of the tool explicitly supports Canon HDV cams, stabilizer, white balance and manual exposure settings are not being displayed, though. The highest gain amplifications (+18 db) are correctly displayed now.

All the other posts concern Sony cams and DirectShow issues only. So be sure you've got a proper working DirectShow capable Mpeg2 decoder installed (PowerDVD 6 seems to install one) and the tool should work.

I hope I could shed some light on a few things. Ask away if you've got issues with the tool and I'll have another look on that site (and try to find a solution, of course).

Is that ok for you, Elmer? Ah, I just love the internet: people from all over the world exchanging information and knowledge. And it's always a good excercise for improving my english! ;)

I think this tool has some quirks in it in regards to reading shutter speeds. I purposely set my shutter speeds in different ranges and the software was unable to read the. it just displayed a "0". This happened most of the time I used it. Also it shows the 1/48 to be 1/60. The Iris and gain information showed up correctly every time however.