Samurai V3 NOW AVAILABLE on Atomos website.

[Bill Thomas]

Unfortunately the zebras only start at 70 on the Samurai as well. From there they jump to 75, 80, 85, 90, 95, 100 and to 105. For use on the F3 with S-Log, 50 and 110 would of been great. With that, I never use the Samurai to check exposure, focus or color balance. Maybe that will change with the new features..

[Felix Steinhardt]

What about false color? Shouldn´t it color everything in different colors so you can distinguish the whole range?

[Bill Thomas]

Yes, False Color covers the whole range. There is apparently no documentation yet from Atomos explaining what colors cover exactly what exposures but some are pretty easy to figure out.

[Felix Steinhardt]

Ok, thanks for your help!
I´ll write an email to atmos, asking them for the color scheme

[James Kuhn]

Felix...if you get an explanation of the 'color scheme' from ATOMOS would you please share it with the group? I'm a 'neophyte' regarding video capture and I don't really understand what the color bars and scene colors are telling me. I presume it helps establish a baseline during 'post production' color correction.

Thanks!

Best regards,

J.

[Ivan Radley]

Originally Posted by Bill Thomas

Thats great to hear. I've pretty much figured out the new features in v3.0 but scoured their website looking for info on what colors represent what exposure level in the new false color feature. A few I've figured out by changing the zebra setting and toggling the false color on to match exposure areas.

Hi Bill and others,

I've attached a document which shows how the colors are mapped to IRE values in the Samurai false color function.

If there are any further info requests then let me know.

Kind regards,

Ivan Radley
Atomos

[Mike Sims]

Howdy Ivan! I’ve been urging Atomos to maintain a presence here. Welcome to the board and hope to see many more posts from you and Atomos.

[James Kuhn]

Mr. Radley..."Welcome to the jungle". Heh, heh!

Thank you for your thoughtful response. Speaking only for myself, I welcome you to the community and encourage ATOMOS to become a regular contributor to DVINFO.net.

Best regards,

J.

[Felix Steinhardt]

Green 43-47 IRE. That´s great! I was afraid the steps would be to big to use for a greycard exposure but that´s perfect!

[James Kuhn]

Felix, or anyone...I come from a 'stills' background and am not familiar with the "IRE" scale. Is "43 to 47 IRE" considered the same as "Medium Gray" in the 'stills' world? And, can someone give me the '30-second' class on using the 'IRE scale'?

Regards,

J.

[Felix Steinhardt]

As far as I know, when you shoot REC709 HD, the absolute standard gamma curve, your greycard would be at 50 IRE.
But when using a camera with "cinegammas (a more non-linear gamma curve)" I understand the IRE of middle grey should be more like 42-45 IRE to gather more highlight detail. I think it´s also because cinegammas start compressing the brighter parts of the image earlier but smoother than REC709 gamma and you ould not want to get your skintones compressed. In post production you could then rearange your midtones, make them brighter.

[James Kuhn]

Felix...thank you. When researching 'picture profiles' for my Sony HXR-NX5U camera, even though I didn't understand why, many of the 'PP' recommendations I obtained listed "GAMMA ITU709 Matrix" and "Color-Mode ITU709 Matrix", I accepted those 'recommendations' on faith, because I didn't know any better. The camera also has a "CINEMATONE1 and a "CINEMATONE2", I chose not to use those settings. Now, I'm wondering if I should do a little more experimentation? I'm trying to understand the 'language' and you have helped fill-in a piece of the puzzle.

Regards,

J.

[Bill Thomas]

Hi Ivan, Thanks so much for posting the false color key here and adding the feature to the Samurai. Very useful!..

[Bruce Schultz]

Felix has his facts correct about middle/medium grey. I would add that for S-Log ( Sony F3 ) which is a much stronger version of CineGammas, you would want to place your middle grey at 33%. It has to do with the clipping of the white points that S-Log performs. Your faces will look underexposed but are regained in grading without losing skin tone color.