Colour a little thin.....?

[Godfrey Kirby]

I was wondering if I was being paranoid or I had my laptop screen at the wrong angle, but having watched three or four Vimeo shorts shot with the AF100/1, the colour seems a little 'cold'. This may have been due to the grade, 'A verse before...' has that dusty, sepia look, which of course is in keeping with the location & plot, but a couple of German (?) films seem to be rather thin & blue-ish. I know they were shot on location, in old industrial buildings, during the coldest winter since 1430 but I just wonder........

A job for Nanoflash? I see a Mr Keaton has just posted, he should be sent to warm tropical climes to pursue this further, lots of strong vibrant colour.

[David Parks]

I noticed the high contrast look on A verse before dying and I think it might be more indicative of Cinegamma V gamma setting. Phillip Bloom used Cinegamma D and was a little more colorful I thought.

Certainly recording 4:2:2 doesn't hurt.

My fear is that everyone is going to start comparing to Alexas and 35mm film stocks which isnt fair at all.

But for 5k the camera resolves detail very cleanly.

[Stephen Mick]

Originally Posted by Godfrey Kirby

I was wondering if I was being paranoid or I had my laptop screen at the wrong angle, but having watched three or four Vimeo shorts shot with the AF100/1, the colour seems a little 'cold'. This may have been due to the grade, 'A verse before...' has that dusty, sepia look, which of course is in keeping with the location & plot, but a couple of German (?) films seem to be rather thin & blue-ish. I know they were shot on location, in old industrial buildings, during the coldest winter since 1430 but I just wonder........

A job for Nanoflash? I see a Mr Keaton has just posted, he should be sent to warm tropical climes to pursue this further, lots of strong vibrant colour.

When Timur Civan (DP) and I talked about the look we wanted for "A Verse…" we quickly honed in on the dusty, "Deadwood" look. We knew we'd be doing color work in a high-end telecine suite, so we set up the AF-100 for a flatter (grade-friendly) look.

But based on what I saw with the AF-100, and the typical Panasonic color-tuning capabilities, I'd have no problems saying that you could set up the camera to deliver just about any look you wanted. The controls are very much like the HVX-200 and HPX-170 in terms of flexibility and options.

[David Parks]

From the man himself. Great job on the short. I loved the beginning. it was well written. Good dialouge is a rarity it seems these days.

The dream sequence was shot very very well. I showed the clip to my coworkers here at NASA. We're getting AF100 hopefully in the next couple of weeks for narrative type work they like to call "story telling".

I'm new to Panasonics and how their gamma curves, dynamic range stretch, etc. really work.I will have lots of questions for the forums.

Again, congrats to you and your team.

Good luck with the short, I hope it takes you to new heights.

[Godfrey Kirby]

Hi Stephen

Originally Posted by Stephen Mick

But based on what I saw with the AF-100, and the typical Panasonic color-tuning capabilities, I'd have no problems saying that you could set up the camera to deliver just about any look you wanted. The controls are very much like the HVX-200 and HPX-170 in terms of flexibility and options.

Thanks for the reassuring opinion of the camera's abilities, I have not been down the Panasonic route before & as I've just ordered one....... I'm a little nervous.