Chef-op et XDCAM...

bonsoir!

en recherche de réglages parfait pour la 510, quelqu'un aurait il des fichiers de configuration pour cette cam... car pour l'instant après avoir essayé pas mal de réglages, la cam reste assez faible en qualité... (voir mon post plus haut)...

merci a tous !

 

(pour dsr 400/450, xdcam hd 330/350, et xdcam 510)

XDCAM
Obtaining “that” Look
There are many things that affect the look of the camera, however probably the 3 main items are: Gamma, Matrix, and Detail.

Gamma
The camera has a host of options for Gamma.
There is Step Gamma, or curves available from 0.35 to 0.90 – the number
represents the Gamma Law (remember that a Gamma law of unity is a straight
line, ie. Gamma OFF).
There is Master Gamma which is a fine tweak on the step curve.
There is individual R/G/B Gamma – not normally touched, however a slight
tweak on Red Gamma can sometimes warm up a face.
There is also a choice of Gamma Tables – 6 for Standard (TV production), and 5
for Film.
ie. Gamma Select STD/FILM
The 6 Standard Tables basically adjust the initial gain of the Step Gamma Curve
(or Law) selected.
The standard Gamma setting of the camera (factory default) is Step Gamma
Curve 0.45 with STD Gamma Table 3.
This gives a Gamma Law of 0.45 with an initial gain at black of 4.0x
By changing the Gamma Curve or Law, the contrast of the picture will be seen to
change particularly in the mid range which will of course affect faces etc.
As the curve is increased to say 0.40, the greyscale will be stretched, and as a
consequence chroma saturation will be reduced.
As the curve is reduced to say 0.50, the greyscale will be stretched less, and as
a consequence chroma saturation will be more vivid.
Hand in hand with this is the Initial Gain (selected via the STD Table).
An Initial Gain of 5.0x will stretch the greyscale at black – again giving the picture
less contrast but providing more information in dark areas of the picture.
An initial Gain of 3.5x will stretch the greyscale much less at black – this will give
the picture much more contrast but provide significantly less information in dark
areas of the picture.
Example. A Step Gamma Curve of 0.40 with an Initial Gain (STD Table 4) of
5.0x will give BBC type pictures – low contrast, relatively low saturation, but
plenty of information visible in all areas of the picture – especially at the bottom
end of the greyscale.
A Step Gamma Curve of 0.50 with an Initial Gain (STD Table 1) of 3.5x will give
a much “punchier” picture with more contrast, it will also have significantly more
chroma saturation. The potential drawback is that there will be less information
visible at the bottom end of the greyscale.
The default value or factory setting, is basically mid way between the two
examples above.
Table of Standard and Film Gamma Curves for PDW-510/530P
Standard
1. Initial gain 3.5x (BVP-E10)
2. Initial gain 4.5x (BVP-E10)
3. Initial gain 4.0x (Standard)
4. Initial gain 5.0x
5. Initial gain 4.5x (BVW-400)
6. Initial gain 0.7x
Film
1. Average (Film2-5)
2. Film No. 5245
3. Film No. 5248
4. Film No. 5293
5. Film No. 5296
Note: If used, the Film curves would ideally be used in conjunction with
Progressive Scan (shutter 1/50th), but they will need some experimenting with to
get the overall desired effect.

Linear Matrix
The default Matrix of the camera is EBU, this is the PRESET value.
Matrix of course should always be switched on, otherwise pictures will look very
de-saturated.
The option exists for User Matrix which may be used in isolation or in parallel
with the default EBU Matrix.
Adjustment of the User Matrix is by 6 coefficients which tend to be quite
interactive – therefore a simple tweak is almost a non-starter.
However, if a simple increase in overall chroma saturation is all that is required,
then the addition of equal amounts of R-G and B-G (say in the range 5-20)
should give the desired result.
Do NOT add equal amounts to all 6 coefficients – it won’t work!

Detail
There are also a host of options for Detail.
One thing to bear in mind here is that what you can see on your field monitor is
not necessarily the whole story.
It can often be the case that due to the lower resolution of a field monitor it is
tempting to wind up the amount of detail, but when the material is subsequently
viewed on a Hi-Res Grade 1, it might looked over-cooked and suffer from those
nasty black edges around the subject or along the horizon.
The camera has excellent resolution and coupled with the default setting of Detail
provides very sharp pictures. Increasing the DTL Level above zero (in 16:9) can
result in over-cooked pictures. In 4:3 mode, I would suggest going no higher than
+20.
Lowering the DTL Level to -20 (in 16:9 mode) will still give plenty of definition,
and turning DTL Frequency to +99 will ensure that any Detail correction added
to the picture will be as fine as possible – virtually eliminating the possibility of the
black halo effect. On a good picture monitor, pictures will still look sharp but the
detail will be more subtle.
A good compromise may be with DTL Level at the default zero, and DTL Freq set
to +99.
Any black edge effect that might be seen on a difficult shot can be dealt with
using the DTL BLK Limit adjustment, or if the problem is the classic roof top
edge, then use the DTL V-BLK Limit adjustment.
Do not be tempted to wind up DTL Level and then compensate with the DTL BLK
Limit – this is counter productive.
Most other Detail adjustments such as Crispening (Noise-Core) should be left in
their default settings.
H/V Ratio does as the name implies, adjust the ratio of horizontal to vertical
correction. It is not normally necessary to adjust this.
Shooting the white square in the centre of the greyscale chart should produce
equal horizontal and vertical correction edges – if not, then adjustment is
required.
Level Depend, this is sometimes also known as Onset. It is the point at the lower
end of the greyscale where detail starts to be added.
Bear in mind that the addition of detail also adds noise to the picture and this is of
course more obvious in the “blacks”, hence Detail should only be added above
the bottom of the greyscale – not at the very bottom.
The default setting appears to be optimum.

Other Useful Tweaks
Knee & Knee Saturation
Knee is a big subject in its own right!
Knee gives compression in the highlights, it tries to prevent highlights in the
picture such as clouds etc. being clipped and hence completely lost.
Firstly there is Manual Knee.
The default Knee Point (the point at which compression starts to occur) is
relatively low on the PDW camcorder ie. 85% (compared to previous generation
Digi-Beta or system cameras where 95% is more typical). However, 85% on this
camera works extremely well and I would not recommend changing this value.
Slope is the amount of compression & again I would keep the default values.
Secondly, there is Auto-Knee – normally referred to as DCC (Dynamic Contrast
Control).
DCC operates in parallel with the Manual Knee and is enabled by the toggle
switch on the side panel of the camera.
For normal use DCC should always be ON, unless you are in a studio situation
with controlled lighting.
DCC will either increase or decrease the Knee Point automatically allowing the
maximum dynamic range of the camera to be used under varying conditions.
Again, with the default settings, DCC works extremely well on this camera.
In the Maintenance Menu (Page 12), the Auto Knee function can be set
between conventional DCC, Adaptive Knee, or Fix.
Adaptive Knee is not recommended, certainly not for dynamic shots. Fix forces
DCC to its maximum compression, useful for difficult back–lit shots perhaps.
Normally keep the Auto Knee function set to DCC.
Knee Saturation
As the highlights get compressed, the chroma in the compressed areas will
become de-saturated. This is quite apparent on foreheads etc under artificial
lights or sunlight.
Turning Knee Saturation ON and adjusting Knee Saturation can add some colour
back into these washed out areas.

Black Gamma
Black Gamma operates on the Gamma Curve or Law to increase or decrease the
initial Gain of the Curve.
In other words it can be used to further stretch out the bottom end of the
greyscale.
It is particularly useful when shooting on bright days to stretch out extreme
shadows.

Low Key Saturation
Low Key Saturation allows chroma to be increased in the dark areas of the
picture.
This is a very useful feature if you want a more saturated look.
There are four steps that determine the range from black upwards where the
function is added. These are Low, Low-Mid, High-Mid & High.
Adjust the level according to the amount of saturation required.

Offset White
This is a very useful feature which can enable you to warm up the picture relative
to the Auto White Balance result.
It is possible to warm or cool the AWB result of either White Memory A or B
simply by dialing in an offset.
For example, on filters 1B the default will be 3200K. If the WARM COOL A is
dialed up to 3400K then an offset of 200K will be applied after AWB in position A.
This will just add a touch of warmth to the clinical AWB result.
When the Colour Correction filter positions are changed, the offset will track
percentage-wise, ie. keep the same offset on a vectorscope – not keep a 200K
offset.

Shot Specific Functions
(Not to be used to obtain a general look)
Skin Detail
Skin Detail is a function that allows the DTL Level in a specific “gated” area to be
reduced (or increased).
Traditionally it allows the DTL Level on the face of a presenter to be “softened”.
The function should be shot specific, ie. it should not be permanently left on.
The camera is equipped with three independent Skin Detail Circuits and these
may be used independently or in any combination. ie. the camera may be set-up
in advance for two news readers and a weather person – all with different skin
hues.
First Skin Detail should be set to ON.
Next, Skin Area Ind (indication) should be set to ON – this will produce a “zebra”
like pattern that indicates the “gated” area.
Skin Detail Select 1/2/3 selects which of the 3 channels is to be adjusted and
this should be set to ON.
Select Skin Detect – a target window will be seen in the VF, and when executed
the detected area should be seen to be identified with the “zebra” like pattern.
This gated area may be fine tweaked with Skin DTL Sat / Hue / Width to
achieve the optimum gated area.
At this point Skin Area Indication should be switched OFF, then Skin Detail Lvl
adjusted for optimum softness as required.
This function need not only be used for softening detail on faces, the function
operates on all colours and may be used on any subject to enhance or reduce
detail on that particular colour or colours.
Take care to set this function back to OFF as the default setting of the camera
after use.

Multi-Matrix
Multi-Matrix is a very powerful function.
It allows independent control of colourimetry within 16 axis or segments of the full
360 degree vectorscope display.
Again the function should be shot specific. It should NOT be permanently left on.

As opposed to Linear Matrix where the 6 coefficients are quite interactive making
it difficult to adjust an individual colour, Multi-Matrix allows adjustment of Hue and
Saturation only within the individual 22.5deg segment.
ie. Red may be tweaked in either the Magenta or Orange direction and it’s
saturation may also be adjusted, without affecting say Green or Blue.
It is possible to adjust any or all 16 axis / segments individually and have them
operate simultaneously if required.
Operation is quite similar to Skin Detail – above.
After use, take care to clear any adjustments back to zero and ensure that the
Matrix (Multi) setting is set back to OFF as the default setting.
Inadvertent use of this function can render material un-useable!

Clive Cannon
Technical Support Manager
Broadcast & Professional Products
Sony New Zealand Limited
achieving the look.doc 20/6/05

 

merci beaucoup pour ton post.
une première lecture m'a fourni pas mal d'élément ce que permet de commencer les réglages dès maintenant...
par contre je reste quand meme sur les fesses de voir sony livrer une caméra avec des réglages usines qui ne vallent rien du tout quand meme...
vous en pensez quoi ?

charly!