HD100 Series Scene File Recipes & Downloadable .SCN files

[Tim Dashwood]

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:

1. 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.
   
2. 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, Recipes, Zipped SCN files

***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, Recipes, Zipped SCN files


***Paulo Ciccone's
True Colour v1 Calibrated to DSC chart: Discussion, Website with Recipe

True Colour v2 Calibrated to DSC chart with added dynamic range: Discussion, Website with Recipe

True Colour v3 with final adjustments for 'real-world' application: Discussion, Website with Recipe



***Stephen Noe's
"Any Scenario" scene file: Discussion, Recipe, Zipped SCN file

"PanaMatch" scene file: Discussion, Recipe, Zipped SCN file

"Dark Interior" scene file: Discussion, Recipe, Zipped SCN file

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

If you are interested in the effects of Black Stretch, Knee and Gamma, then download this quicktime of my original tests and step through it one frame at a time.

[Avi Shovakar]

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.

[Luis Otero]

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.

[Avi Shovakar]

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

[Stephen L. Noe]

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

Click here

[Stephen L. Noe]

Here is my PANAMATCH scene file with example footage.

Click here


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...

[Tim Dashwood]

Originally Posted by Stephen L. Noe

Here is my PANAMATCH scene file with example footage.

Click here


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.

[Tobie Marier]

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

[Chris Hurd]

Originally Posted by Stephen L. Noe

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.

[Tim Dashwood]

Originally Posted by Tobie Marier

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/showthrea...hlight=filmout

http://www.dvinfo.net/conf/showthrea...hlight=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.

[Michael Escher]

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

[Luis Otero]

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

[John Yamamoto]

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

[Paolo Ciccone]

Originally Posted by John Yamamoto

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" :)

[Laszlo Horvath]

Originally Posted by Paolo Ciccone

Glad to see another satisfied "customer" :)

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

Laszlo