which scene file for music video? at DVinfo.net

Nima Taheri · May 3rd, 2006, 06:12 PM

Hey boys and girls.

I am planning to shoot a music video this upcoming saturday with the HD100, where we are filming all locations outdoors. I'm trying to get crisp, fresh and saturated colors, like the blue sky, blue water, the different colors on the shirts. Also, white colors should stay white.

We are not using any lights, just reflectors, we are shooting alot of the shots on a sailboat. We also need a few blue-screen shots. The weather forecast is sunny, no clouds and no wind.

I was thinking of using Paolo's TrueCol v2, but maybe I should go for V3 (anyone tested the V3?)? Are there other scene files I could use to achieve richer and more saturated colors to test with? How will the DVCPro scene file work compared to the TrueCol?

Thanks

Jiri Bakala · May 3rd, 2006, 06:28 PM

What you need is a polarizer filter. Paolo's scene files are nice and I have used the V2 for a music video too - the director didn't have any vision: "nice neutral look, we can do something with it in the post" - yeah, right. Anyway, the pola filter will help with exposure and deepen the blues of sky and water and it will also saturate other colours gently. I don't think that you want to get any more saturation. What's the music? That should really determine the 'look' (and the director, if you have one :-)

Nate Weaver · May 3rd, 2006, 06:45 PM

I guess the question is are you going to do any post color-work? For any music video I would strongly suggest working some into your plan, but if not...

Paolo's "True color" setup listed in this forum is a great way to go, but I think it makes skin tones a little more Sony-like...not something I generally look for.

These days I'm pretty partial to the stock Standard color matrix. If you want Saturated colors, you can move chroma gain to maybe +3. If you go higher than that, I'd say you run the risk of clipping chroma in some places. If you have good exposure and even average chroma levels, you can always pump that up in the simplest NLE program. But you can never recover clipped chroma in skin tones. what might look acceptable on the camera chroma-wise when shooting might look horrible when you get it in the edit. Other notes:

Cinegamma
Black stretch of 1 for punchy blacks but still some detail in the shadows

Stephen L. Noe · May 3rd, 2006, 09:10 PM

We just did a 6 camera shoot for the massive immigrant march here in Chicago. We used the "True Color" scene file. I've been logging the tapes and I STRONGLY suggest you test the file and see if it's what you want. It is so oversaturated in outdoor conditions that you'll be pulling saturation out of everything in order to get what you want. I believe the true color file is ideal for commercials and controlled lighting but outdoors in full sun or in even cloud cover you may run into problems or make alot of work for yourself.

Joe Bowey · May 3rd, 2006, 09:53 PM

I tested his version 3 outside here in Phoenix, AZ today and the skys looked crisp and blue despite a few clouds. The sky even looked hazy and I only have a clear filter over it.
Also I did noticed a faint SSE when shooting indoors at 18db. solution don't shoot at 18db.

Nima Taheri · May 4th, 2006, 04:34 AM

Jiri: the music is hiphop, though pop and commercial. I'm trying to convey a summer feel/ vibe to the video, blue sky and warm colors. Your typical travel agency ad, with the beach and all:) Not many tripod shots, most hand held and maybe a glidecam option. Could you explain more about this polarizer filter? Is it a post-effect filter or a lens filter? What does it do?

Nate: yes, I am doing post-CC. Especially since everything is shot out doors + a few blue screen shots.

I have been doing some intervues and mini-documentaries on Paulo's V2, looked pretty good, but saw some green artifacts on near overexposed spots on egdes.

Joe: I probably won't crank the gain to 18db....ever:)

Stephen: If not the TrueCol V2 for out doors, would you recommend using the standard matrix of the camera or to tweak the TrueCol some?

Stephen L. Noe · May 4th, 2006, 06:05 AM

Either Tims DVX100 match or my Panamatch. With the panamatch file you will not overexpose if you put a zebra on the highest highlight.

Stephan Ahonen · May 4th, 2006, 02:22 PM

I'd say white balance on a blue card to warm up the picture and matrix the blues so they're a touch more saturated.

I must confess that I try to avoid watching hop-hop music videos as much as humanly possible so I really don't know the look you're going for.

Jiri Bakala · May 4th, 2006, 03:06 PM

Quote:

Originally Posted by Nima Taheri

Could you explain more about this polarizer filter? Is it a post-effect filter or a lens filter? What does it do?

It is a lens filter - you cannot achieve the same effect in post. It cuts down drastically on non-metal reflections, i.e. glass windows or water. That allows the camera to "see" through windows that would be othrewise to reflective or "into" water - used 100% for any fishing show. With skies it deepens blues and enhances clouds so that they 'pop' out of the background - BUT, it works best at approx. 90 degree angle from the sun. So, the sun should be on either side but not behind or in front. It also generally slightly saturates colours.

It takes some experimenting but in general it's fairly straight-forward. Any book on photography will explain its use (better than me:-)

Soroush Shahrokni · May 4th, 2006, 05:21 PM

Nima, Im shooting a musicvideo tomorrow as well. I have all the scenefiles uploaded by our dear members but Im going to go with Tim Dashwoods "CINEWIDE" setting. It gives you a good flat digital negative that can be worked with just the way you want in post. It wont look that great straight out of the camera but you can tweak it just about anyway you like.

I really like Paolos settings but I havnt had the time to work with them on the field so Ill continue to use the "CINEWIDE" setting for this shoot as well as I feel very comfortable with it.

Good luck on your shoot!

May 3rd, 2006, 06:12 PM	#1
Nima Taheri Regular Crew Join Date: Mar 2006 Location: Norway Posts: 136	which scene file for music video? Hey boys and girls. I am planning to shoot a music video this upcoming saturday with the HD100, where we are filming all locations outdoors. I'm trying to get crisp, fresh and saturated colors, like the blue sky, blue water, the different colors on the shirts. Also, white colors should stay white. We are not using any lights, just reflectors, we are shooting alot of the shots on a sailboat. We also need a few blue-screen shots. The weather forecast is sunny, no clouds and no wind. I was thinking of using Paolo's TrueCol v2, but maybe I should go for V3 (anyone tested the V3?)? Are there other scene files I could use to achieve richer and more saturated colors to test with? How will the DVCPro scene file work compared to the TrueCol? Thanks

May 3rd, 2006, 06:28 PM	#2
Jiri Bakala Major Player Join Date: Apr 2004 Location: Kelowna BC Canada Posts: 706	What you need is a polarizer filter. Paolo's scene files are nice and I have used the V2 for a music video too - the director didn't have any vision: "nice neutral look, we can do something with it in the post" - yeah, right. Anyway, the pola filter will help with exposure and deepen the blues of sky and water and it will also saturate other colours gently. I don't think that you want to get any more saturation. What's the music? That should really determine the 'look' (and the director, if you have one :-) __________________ www.ascentfilms.com

May 3rd, 2006, 06:45 PM	#3
Nate Weaver Wrangler Join Date: Oct 2002 Location: Los Angeles, CA Posts: 2,100	I guess the question is are you going to do any post color-work? For any music video I would strongly suggest working some into your plan, but if not... Paolo's "True color" setup listed in this forum is a great way to go, but I think it makes skin tones a little more Sony-like...not something I generally look for. These days I'm pretty partial to the stock Standard color matrix. If you want Saturated colors, you can move chroma gain to maybe +3. If you go higher than that, I'd say you run the risk of clipping chroma in some places. If you have good exposure and even average chroma levels, you can always pump that up in the simplest NLE program. But you can never recover clipped chroma in skin tones. what might look acceptable on the camera chroma-wise when shooting might look horrible when you get it in the edit. Other notes: Cinegamma Black stretch of 1 for punchy blacks but still some detail in the shadows __________________ My Work: nateweaver.net

May 3rd, 2006, 09:10 PM	#4
Stephen L. Noe Trustee Join Date: Apr 2005 Location: Chicago Posts: 1,214	We just did a 6 camera shoot for the massive immigrant march here in Chicago. We used the "True Color" scene file. I've been logging the tapes and I STRONGLY suggest you test the file and see if it's what you want. It is so oversaturated in outdoor conditions that you'll be pulling saturation out of everything in order to get what you want. I believe the true color file is ideal for commercials and controlled lighting but outdoors in full sun or in even cloud cover you may run into problems or make alot of work for yourself.

May 3rd, 2006, 09:53 PM	#5
Joe Bowey Major Player Join Date: Oct 2002 Location: Glendale, AZ Posts: 217	I tested his version 3 outside here in Phoenix, AZ today and the skys looked crisp and blue despite a few clouds. The sky even looked hazy and I only have a clear filter over it. Also I did noticed a faint SSE when shooting indoors at 18db. solution don't shoot at 18db.

May 4th, 2006, 04:34 AM	#6
Nima Taheri Regular Crew Join Date: Mar 2006 Location: Norway Posts: 136	Jiri: the music is hiphop, though pop and commercial. I'm trying to convey a summer feel/ vibe to the video, blue sky and warm colors. Your typical travel agency ad, with the beach and all:) Not many tripod shots, most hand held and maybe a glidecam option. Could you explain more about this polarizer filter? Is it a post-effect filter or a lens filter? What does it do? Nate: yes, I am doing post-CC. Especially since everything is shot out doors + a few blue screen shots. I have been doing some intervues and mini-documentaries on Paulo's V2, looked pretty good, but saw some green artifacts on near overexposed spots on egdes. Joe: I probably won't crank the gain to 18db....ever:) Stephen: If not the TrueCol V2 for out doors, would you recommend using the standard matrix of the camera or to tweak the TrueCol some?

May 4th, 2006, 06:05 AM	#7
Stephen L. Noe Trustee Join Date: Apr 2005 Location: Chicago Posts: 1,214	Either Tims DVX100 match or my Panamatch. With the panamatch file you will not overexpose if you put a zebra on the highest highlight.

May 4th, 2006, 02:22 PM	#8
Stephan Ahonen Major Player Join Date: Apr 2005 Posts: 512	I'd say white balance on a blue card to warm up the picture and matrix the blues so they're a touch more saturated. I must confess that I try to avoid watching hop-hop music videos as much as humanly possible so I really don't know the look you're going for.

May 4th, 2006, 05:21 PM	#10
Soroush Shahrokni Regular Crew Join Date: May 2005 Location: Stockholm Posts: 100	Nima, Im shooting a musicvideo tomorrow as well. I have all the scenefiles uploaded by our dear members but Im going to go with Tim Dashwoods "CINEWIDE" setting. It gives you a good flat digital negative that can be worked with just the way you want in post. It wont look that great straight out of the camera but you can tweak it just about anyway you like. I really like Paolos settings but I havnt had the time to work with them on the field so Ill continue to use the "CINEWIDE" setting for this shoot as well as I feel very comfortable with it. Good luck on your shoot!