New X70/Z150 color correction PP

[Paul Anderegg]

Yeah, out of the box the reds are too far over into the orange vector area, but as I said, when I put red in it's box, I end up getting pink fire trucks with flashing magenta lights! Like many single sensor cameras, you get color shifts as the saturation intensifies, making calibrating more difficult. These cameras also have a tendency for cyan to push really hard into green as saturation intensifies, making for greenish sky reflections and green police lights. Calibrating for the night ENG red/blue/amber flashing lights i deal with actually works out well for everyone, as this is the hardest test of the alignment settings you can imagine!

Paul

[Randy Wheeler]

Biggest color accuracy problem I've seen is purple looking blue on the default presets like ITU709.

https://www.screencast.com/t/h51yMAwaM4D3

Randy

[Paul Cronin]

Well I finally did my first two-day (100GB, 4K) outside shoot and camera did a great job. You have to be very careful of the over exposure with only f11 available. And with such a minimum dynamic range it is different for me, but nothing that I cannot adjust too with a little practice.

Paul, I used the same (ITU709) preset that I have been using in studio for months and it worked great.

Now a 10 bit, 422, 4K version that goes to f22.

[Paul Anderegg]

You don't want to iris down too much on the camera, you would start to get lens diffraction, where the entire image on even smaller sensor cameras turns fuzzy, like you are shooting through a tissue paper. I would gander the 1" sensor might be able to take f8 without anything visible.

I made an NLE FCPX color correction effect for my ITU709 PP...I was working with a lot of footage shot using those custom settings, so I needed a quick effect for batch correcting them all. If you need, I can get you the DSC chart shot with ITU709 so you can create a greyscale correction effect in your NLE.

Paul

[Paul Cronin]

fully agree Paul,

I keep it between 5.6 and 8 with best results. It is a consumer camera and has it limitations, but pretty good for the money.

I always set up a new preset in PP CC 2017 for each job. That way I drop it on the timeline and just tweek each clips.

But with out your preset I would be doing a lot more.

[Paul Anderegg]

My suggestion would be to buy a cheap greyscale chart, and use that to create a simple correction effect. When in preset or manual white balance, the camera makes no attempt to black balance, so when you view the greyscale on the NLE waveform, you will see the separated red green and blue variations in highlights mids and shadows. These separations are not matching, meaning you may see green pushing high on highlights, but blue pushing high on shadows, it really is all over the place. By shooting in manual white balance, and creating a simple "manual correction effect" with the greyscale chart, you have at least given yourself the best baseline, and this correction can be applied to your entire timeline prior to grading or altering it.

Paul

[Paul Cronin]

Paul,

Great advice, that is what I have done for years. Each project has a new CC preset that I set up based on conditons and then dump it on the timeline. This gets me so close that the final corrections for each clip take seconds.

[José Manuel López]

Hi Paul! Maybe it's a newbie question, but how do you set the 1 & 2 colours in the "Color correction" PP options?:

Originally Posted by Paul Anderegg

Color Correction: Revision 1&2 1 = red, 2 = yellow

I can set all the other parameters of your PP as you explained, but I'm unable to see in what menu I'm able to set either "Color 1" as "red" or "Color 2" as "yellow". My Sony PXW-X70 has the lastest firmware 3.0.2.

Thanks!!

[Paul Anderegg]

Sorry for the confusion...naming the colors was simply meant to indicate which colors are being adjusted in each setting...Sony uses a NUMBER system to denote what part of the spectrum is being affected...you can play around seeing these numbers by pressing the auto function and pointing at different colors to see what the camera calls them.

Paul