Preset to match XL2 to DVX?

[Bill Hamell]

Ash,

I think you posted a custom preset for the XL2 to match the DVX.
I have serched the forum but can not find it, could you please post it again if you did in deed post it earlier.

Or if someone has it could you please repost it for me?

Thank you,
Bill

[Mike Andrade]

Bill,


I got these settings from Ash a while back and he said they were used to cut HVX and XL2 footage together. I don't know if they will help but here they are. They might get you close.

Gain: 0dB
WB: warm 1 (wb to light blue)
Gamma: Cine
Knee: LOW
Black: Press
Color Matrix: Cine
Color Gain: +3
Color Phase: +2
R Gain: +2
G Gain: 0
B Gain: +3
V Detail: normal
Sharpness: 0
Coring: 0
Setup Level: -6
Master Ped: -6
NR: off

[Bill Hamell]

Mike,

Thank you, I saved it, currently I do not have both cameras when I do I will give it a try.

Thanks again,
Bill

[Mark Sasahara]

Matching the two is a real pain in the butt. If at all possible, get a monitor with an A/B switch and point the two cams at a well lit subject. If you can get a test chart with a gray scale, RGB and CMYK color patches this will go a long way to help get the reds to match and to bring the Canon's contrast down. Also a human in shot is good too. I forget, I think the XL2 was more contrasty and a little cooler than the DVX.

Being able to toggle back and forth between the two cameras will help, that way you can see what's going on. I think you have to get out of the menus for the changes to actually take full efect. I remember things looking good on the monitor, getting out of the menu and then having things look different. Maybe I'm retarded, but it took a couple of hours. Have only one person make the changes, I did it with a friend and having him looking over my shoulder made things go slower.

Even with all that, you may still have do a little in post. Also if you can tweak the DVX to meet it, that may help also.

[Bill Hamell]

Mark,

Thank you for your advice, my monitor does have an A/B switch I also have a Macbeth color checker. I shall use them both.
Good point about too many cooks spoiling the broth.

Thanks again,
Bill

[Mark Sasahara]

If you can get some type of Kodak Gray scale or something, that will help with contrast. You want to see where it's going/what it's doing. That was one of the biggest differences.

Good luck.

[Bill Hamell]

Got one of those too!! :-)

Thanks,
Bill

[Ash Greyson]

It all depends on how you have your DVX set-up but here is a starting place for XL2...


ash =o)



Gain: 0dB
WB: warm 1 (wb to light blue)
Gamma: Cine
Knee: High
Black: Press
Color Matrix: Cine
Color Gain: +3
Color Phase: +2
R Gain: +6
G Gain: -3
B Gain: +3
V Detail: normal
Sharpness: -3 (-6 if matching 16:9 DVX)
Coring: +3 (+6 if matching 16:9 DVX)
Setup Level: -3
Master Ped: -6
NR: off

[Bill Hamell]

Thank you Ash :-)

bill

[Josh Bass]

Hey, Ash, in your version, do you white balance and then apply the preset, or white balance with the preset already activated?

[Paul Nguyen]

Originally Posted by Josh Bass

Hey, Ash, in your version, do you white balance and then apply the preset, or white balance with the preset already activated?

Josh,
It really does not matter when you WB; the settings are impartial to it.

By the way Ash I tried your setting but I found it more effective with the R-Gain set to +3 instead of +6 as it blew out skin tones too much.

[Ash Greyson]

Do you have a 100B? That is for matching the 100A, the 100B is much better with reds...



ash =o)

[Josh Bass]

It doesn't seem like it should be impartial. . .there are color changes in that preset. Seems like when you white balance would affect what they do. I know we had this discussion a while ago. I don't remember the conclusion.

[Mike Andrade]

I remember that Josh. I think the conclusion was preset then WB.

[Tyson Persall]

This has been very helpful.