You'll be amazed what a great DP can do with a camera.  Read on 

Thanks, Michael Caporale, for this letter and ChromaDuMonde User Report

In the past month I have been working on the creation of set-up files for the SDX900 camera.  These set-up files will be posted to the Panasonic web site for downloading as text files that can then be transferred from a user’s computer to an SD card for uploading to an SDX900 camera.  They will be available at no cost to the users.

The files will also be included with reference illustrations in the new SDX900 manual being written for Panasonic by Robert Goodman.

The purpose of the files is to allow users to program their cameras for different “looks”, to simplify the process for beginners, to create starting points for more experienced users to begin experimenting with and ultimately to encourage users to explore their color menus

To that end we have divided the files into three categories.

There are 6 comprehensive files that will program every function of the camera for “easy set-up”.  The comprehensive set-ups are scoped “normal” to match the ChromaDuMonde’s 28-chip chart and set up the camera for various ENG, Digital Cinema and Advertising production “styles” of working.

24 paint (color/detail) files will change the response (the look) of the camera without affecting any of the other set-up information currently in use by the camera ( the “style” of shooting).  These files were also created using the ChromaDuMonde chart, but only a few were set to match the targets on a vectorscope.  Most were created to provide an extreme variety of looks that users will recognize from the many current films, television and commercials that use telecine for creating different “looks”.  By using the chart, I was able to work quickly, manipulating the color menus more critically to achieve these variant results.

The last group of 3 set-ups will allow users to maintain a given “look” by retaining the paint settings currently used by the camera while allowing them to change from one style of shooting to another.

Attached are the three frame grabs from the Leader 5700 scope that illustrate a typical set-up, scoped “normal”.  They include a shot of the ChromaDuMonde chart with the camera’s color menu overlay that created it, a shot of the vectorscope with all the color plots sitting exactly on the crosshairs of the target and a shot of a tabletop set, illustrating the use of that specific set up.

In the near future, I intend to create set-up files for VariCam using your chart and I expect these files will also be made available in the same way as the SDX files are, over the internet.

Having migrated to digital video from film production, I know first hand that digital production requires learning different techniques to master the form.  Most film-makers will not be familiar with your charts, or the benefits that can be derived from using them for “scoping” color.  When used in the manner that you recommend, I know of no better way to set-up color.

Sincerely.
Michael Caporale
director of photography
24P Digital Cinema, LLC

Our thanks to Greg Foad

for this

Sony F900 User Report

After missing the DSC Booth at NAB, and hearing about their new ChromaDuMonde chart, I had to go take a look and see.  I really wanted to check out if it would give a better representation of what the multi matrix on my F900 was doing.

A bit of background first.  I primarily shoot with an F900.  When I decide to use matrix correction, my standard to date has been the DSC CamAlign chart.  It facilitates adjustment of the six vectors on a standard vectorscope into an ITU-709 color space.  By using a combination of user matrix and multi matrix, the six vectors can be brought in very nicely to their targets on the vectorscope.

What the ChromaDuMonde adds is the ability to see how the color space between the six targets gets affected by the other 10 points of adjustment from the multi matrix.

In the last photo, I started with Matrix Preset 709 and added User matrix.  I tried every multi matrix adjustment but it tended to warp the cyan/green and red/magenta from the suggested DSC reference.  So for multimatrix I only used 3 main points to help bring it in and left all others at factory (0).

All DSC Colorbars are designed to have slightly higher saturation than typical scene colors.   In NTSC, simply increasing the burst, to the outer corner of the yellow box should put the signals in their boxes when a camera is aligned for accurate reproduction.

In HD and SD the RGB levels are combinations of 560 and 280mV.  Because there is no burst, Dave Corley is working with scope manufacturers to have them include a setting to give the standard gain factor of x1.875.

For now David recommends exposing for the chart, then expanding gain to place the red and yellow signals (the main components of skin tone) into their boxes before adjusting the other colors.

I found ChromaDuMonde to be a great tool for setting up the color space on my F900.  It really did provide what I felt was a very complete set of targets for setting up, and manipulating, matrix settings.

Greg Foad