Michael McIntyre

Too funny. Beyond that - sad to hear. I was also looking forward to seeing this one. Might have to give it a look anyway. The F/X Channel was airing "28 Days Later" as part of their cross-promotion here in the States. I still really like it despite how bad the DV looks.

Looking to keep the thread alive..... Anyone else got any scene file settings to share? This is called "The Office" from 'heisest' on dvxuser.com....... Detail Level: +7 V Detail Level: +7 Detail Coring: +7 Chroma Level: -7 Chroma Phase: -7 Color Temp: -2 Master Ped: -10 A.Iris Level: +2 Gamma: Cine-Like Knee: (Auto) Matrix: Norm Skin Tone Dtl: Off V Detail Freq: Thin Progressive: 24P(ADV)

Sure thing, Jonathan. I agree - it is kinda weird. You'd think that with the pixels covering what seems like a smaller area, it would translate to a nice 16:9 workaround. As I mentioned with that shoot, I went so far as to even ignore everything I'd read. I was determined that it had to be as good if not better than letterbox. I guess there's just some weakness in that electronic process that doesn't fly. Oddly enough, the DVX100B will 'un-squeeze' the vertically-stretched picture in the LCD for you. In the ASPECT CONV setting, you can force it to display the aspect ratio you want or just leave it on 'AUTO' and it will automatically kick in when you go to Squeeze mode. I think that's only an option on the 'B' though. I could be wrong (I don't have a DVX100A) but I'm somewhat sure that's the case. It's also unfortunate that the Anamorphic adapter is difficult to work with. I went so far as to e-mail Barry Green, asking if all the horror stories were out there because of newer operators not accustomed to handling optics. He assured me that, no, it really is awkward. Filtration can't be added to the end and focusing gets really goofy. Most matteboxes are not an option. For focusing, you have to determine the focal point without the aid of the LCD or viewfinder. Not to get off-topic, I guess I just need to get a HD camera {at some point} but I'm still loving what I'm seeing from the DVX and most of my work is still SD. Enjoy San Francisco for me! A little land-locked here in Denver but loving that as well. Been good chatting with you, Jonathan

The DVX100 A & B series have straight 4:3, Letterbox (black bars on top and bottom) and Squeeze (which stretches the image to fill the 720 x 480 frame making it 16:9). You'd think it would be more resolution but it's not. The only way (with the DVX) to get the best 16:9 is with the somewhat awkward lens adapter. I was just quoting from Barry Green, author of "The DVX Book", Panasonic guru and frequent poster on that 'other' website dvxuser.com. Further - "The result is a significant loss in resolution as compared to anamorphic, but the image is now suitable for playback on a widescreen television. Letterbox mode would be preferable to Squeeze mode for a film blow-up or HD up-rez.". Sounds like reverse logic but it's true. His book has the focus chart tests to point out where the lines of resolution drop off and I've shot tests as well. I really was hoping for in-camera Squeeze (fake 16:9) to be better. I already had a 16:9 broadcast monitor and was all prepared for a workflow to go straight out to 24p 16:9 DVD. I did 2 days of shooting at the start of the project to go down that road. Those 1st 2 days also really pushed the camera in some extreme set-ups where detail was key. Some of the 'weaker' areas of the DVX stock lens are wide-open and wide-angle. It really showed but was not much of a problem for the project. Once you 'flag' the footage as anamorphic, you can intercut with letterbox - it just gets 'de-sequeezed' in a 4:3 timeline. If Letterbox is good enough for a HD blow-up and Oscar nomination "Iraq in Fragments" (dir. James Longley), then count me in.

Actually - you might want to just crop. According to Barry Green's book, SQUEEZE mode "tops out at about 350 lines of resolution, a bit less than straight letterbox mode. SQUEEZE mode is a little bit lower resolution because it's been through a digital-stretching process, but it's 16:9 shaped".

This is from DVFilm.com out of Austin. You know - the Raylight, DVFilm Maker guys. These are their suggested setings for film-out. Again - just adding to this growing list of different digits... DVX100/DVX100A Suggested settings for Transfer to Film or Use with DVFilm Maker SHUTTER = OFF (1/50th). 1/60th sec may also be used, but only to reduce flicker with florescent or arc lighting in 60Hz countries (like the USA). ATW (Auto Tracking White Balance) = OFF SCENE FILE: ? DETAIL LEVEL = -3 (see note 1) ? CHROMA LEVEL = 0 ? CHROMA PHASE = 0 ? COLOR TEMP = 0 ? MASTER PED = -6 (see note 2) ? A. IRIS LEVEL = -1 ? GAMMA = CINE-LIKE (for DVX100A use CINE-LIKE-V) ? SKIN TONE DTL = OFF ? MATRIX = NORMAL ? V DETAIL FREQ = THIN ? PROGRESSIVE = 24P(ADV) for NTSC / 25P for PAL models ? CAMERA SETUP: ? ASPECT CONV = NORM (4:3) ? SETUP = 0% ? SW MODE: ? ATW = OFF ? RECORDING SETUP: ? REC SPEED = SP ? AUDIO REC = 16BIT ? DISPLAY SETUP: ? ZEBRA DETECT 2 = 100% ? ZEBRA DETECT 1 may be useful at 80% to set skin tones just below 80, as suggested by Steve Mullen's guidebook on the DVX100.

The comp jpeg might be a bit small to see much detail but it beats the size of the last batch {I think}. Anyway, basically a variation on the earlier test, this one is "UV Haze & Toxic Gas". The circular polarizer helped with the mile-high UV blast of sun that we have here but there's not much I can do about the industrial energy complex that is Commerce City, Colorado. UV HAZE & TOXIC GAS SCENE FILE: DETAIL -2 V DETAIL LEVEL -4 DETAIL CORING +3 CHROMA LEVEL +3 CHROMA PHASE 0 COLOR TEMP -2 MASTER PED -5 A. IRIS LEVEL -2 GAMMA CINELIKE V KNEE (N/A) MATRIX CINELIKE SKIN DTL OFF V DETAIL FREQ MID PROGRESSIVE 24pA

Whatever you do when converting to B&W, don't just straight desaturate. In other words, don't simply pull out the chroma or 'turn off' the chroma. With still photography, you can use something like Photoshop's channel mixer to create several different looks for color -> black & white stills. With video, you can also treat the color video's channels to selectively isolate ranges of exposure for black & white. You might even consider turning up CHROMA on the DVX to give you even more chroma information to play with. You're probably familiar with photographers using different color filters (red, yellow, etc.) to accentuate certain parts of the spectrum for black & white photography. You already have plenty of room to experiment with your in-camera settings. I realize post discussions are frowned on here in this forum and I don't know what you're using to edit with but there are many ways to go about getting a rich and highly customizable look for black & white. It may sound like reverse-logic but it works. Don't turn down chroma in-camera, if anything turn it up, bring it into your editing platform and look at ways to get to black and white using RGB channels versus simply turning down saturation. Hope this helps....... I would elaborate but, again, there's the whole 'no post' discussion thing here.

Barry Green suggests keeping it to THIN if you're planning on a film-out. The newer MID (as its name implies) seems to be just a happy medium between the 2. If I remember correctly, he outlines THICK if you're doing just TV and THIN for film-out. MID would be for those undecided and wanting to 'play it safe'. Again, just recalling info from his "The DVX Book". I shoot THIN even though most of my stuff is for broadcast. Only occassionally do I see issues with vertical data.

This is from Andy Starbuck (DVXuser.com): Here is a link to some sample images of scene settings I created for a contest submission. http://www.kymovie.com/areas/justus/sixyearsunder.htm All of the looks were inspired by movies I admire. The settings for these looks are as follows: "Normal" Detail Level 0 V. Detail 0 Detail Coring 0 Chroma Level 0 Chroma Phase 0 Color Temp 0 Master Ped 0 A.Iris +2 Gamma CINE-V Knee AUTO Skin DTL OFF Matrix CINE-LIKE "SuperSat" Detail Level +2 V. Detail 0 Detail Coring +2 Chroma Level +7 Chroma Phase 0 Color Temp 0 Master Ped 0 A.Iris +4 Gamma CINE-V Knee AUTO Skin DTL OFF Matrix CINE-LIKE "6under" Detail Level -1 V. Detail 0 Detail Coring 0 Chroma Level -7 Chroma Phase -4 Color Temp +6 Master Ped -2 A.Iris +2 Gamma B.PRESS Knee MID Skin DTL OFF Matrix NORM "Germany" Detail Level -1 V. Detail 0 Detail Coring 0 Chroma Level -7 Chroma Phase +4 Color Temp -5 Master Ped -3 A.Iris +2 Gamma LOW Knee MID Skin DTL OFF Matrix CINE-LIKE "Moonlight" Detail Level +4 V. Detail 0 Detail Coring +2 Chroma Level -7 Chroma Phase +4 Color Temp +7 Master Ped +8 A.Iris +2 Gamma B.PRESS Knee MID Skin DTL OFF Matrix FLUO "SkipB" Detail Level +2 V. Detail 0 Detail Coring -3 Chroma Level -6 Chroma Phase +5 Color Temp 0 Master Ped -12 A.Iris +4 Gamma HIGH Knee HIGH Skin DTL OFF Matrix FLUO

Not bad advice indeed. I've been experimenting mainly to get to know the settings better. My current project is a documentary so there will end up being 2 very different scenarios and testing to determine settings for each. Basically: 1. Single-person 'talking-head' interviews with a 3-point kit (black rolling off into shadows, shallow DOF) 2. Western exteriors b-roll (Colorado & Utah electric-blue sky, red rock canyon country) We're using a filter stack of 77mm ND's and a Hoya 'Moose'. The 'Moose' is a combo wwarming / circular polarizer filter that really helps pop the clouds and cuts down on glare. Some people say there's no need for a warming filter since you can shift towards red with COLOR TEMP but I like getting the light as pretty as possible before it even gets into the camera. Thing is (obviously) you have to white-balance before you put the filter on or it will actually negate / reverse the effect. Will probably end up changing the Vertical Detai below in addition to bringing down the auto-iris level. I don't use the auto-iris - only as a reference for manual exposure. "Denver Buttered Toast" Settings Test: DETAIL -3 V DETAIL -1 CORING +2 CHROMA +3 C PHASE 0 COLOR TEMP -2 PED -8 A.IRIS 0 GAMMA CINELIKE V KNEE LOW SKIN DTL OFF V DTL THIN 24p I can't vouch for these but a shooter out of Virginia posted these as digits he was given for a "Flip That House" shoot from the production company: PED -5 MATRIX CiINELIKE DETAIL -4 CORING 0 V DETAIL 0 V DETAIL THICK GAMMA CINELIKE KNEE AUTO CHROMA 0 C PHASE 0 TEMP 0 SKIN DTL ON A. IRIS -3 24p

I hear you, Brant. I'm experimenting myself, hence the reason for digging up all those different settings. This thrread could maybe serve as a central spot to share what we find that works. I realize it's not specific to the DVX100 but addresses what you'd just described regarding TV work. There's been a lot of debate elsewhere on the exaggerated, stylistic look of "CSI: Miami" and how it's been achieved. Co-DP Charles Mills has this to say in the latest issue of American Cinematographer: "If you're going to suspend disbelief, just go all the way. People assume it's all done in post, but it's not - all the colors are done in camera with filtration and colored lights. The visuals are so important to this show."

"Iraq in Fragments" was shot on a DVX100 and a DVX100A over 2 years around Iraq (obviously) by director/shooter/writer/editor James Longley. Iraq in Fragments (Trailer on Apple.com) It was up against "Inconvenient Truth" for this year's Best Dosumentary Oscar. All stock lenses with little filtration. I've read that he mostly used shutter speeds and ND to keep the DOF shallower. Enjoy!.......

Be wary of ANY 2nd Chance Offers. Always. They've done a good job recently of hiding all identities of anyone bidding on anything (not just film gear) but some slip through the cracks. If you do receive any e-mails outside of "My Messages", just forward them to: spoof@ebay.com They'll do the research and (usually) get back to you fairly quickly. Having just typed that, now I'm all paranoid about something that's supposed to be shipped here tomorrow. Yikes......

I ran across these listed as Barry Green's 'sometimes-used' settings.... I have seen a set he listed elsewhere as 'most-often' used but I can't determine whether these are the same or not. Again, this is a post-from-a-post so I apologize in advance if (for some reason) they are not exact. You know - that Barry Green... author, expert, Panny fan..... Master Ped: -8 Matric: CINE Detail LVL: -2 Detail Coring: 2 V Detail LVL: -1 V Detail FREQ: THIN Gamma: CINE_D Knee: LOW Chroma LVL: 2 Chromas PHASE: 0 Color TEMP: 0 or -1 Skin Tone DTL: OFF Progressive: 24pA

Having just read that..... Sounds like I needed some coffee. Someone woke up on the wrong side of the edit bay. To that end, I offer an olive branch. I agree - great shots can be made better by post-processing. I use and enjoy all the products and workflows you described, Walt. I ran across {but have not tested} these DVX digits..... saving private ryan chroma level -7 chroma phase 2 color temp -1 master ped -12 gamma - low knee - high matrix - norm 24p (be sure to add a high shutter speeed!) minority report detail level 1 v detail level 2 detail coring 6 chroma level 2 chroma phase -4 color temp 4 master ped -11 a iris -4 gamma - cine like v matrix - flou 24p 70's detail level -4 v detail level -7 detail coring 3 chroma level -7 chroma phase 1 color temp -6 master ped 7 a iris -4 gamma - cine like v matrix cine-like 24p (Courtesy of dvxuser.com)

Nothing snobbish about my statement and I stand by it. I am merely stating the obvious. Apparently there remains some confusion on your end. As indicated above, this is: "Cinematography.com > Cinematography Forums > Video Only > Panasonic AG-DVX100A > "look" Settings" I don't see NLE's, effects, Nattress, Magic Bullet, Plug-Ins or software of any kind mentioned. Why confuse the issue? I also use all of these tools (and more) when cc'ing and grading for broadcast and film-out. I also discuss their use in their respective forums. I believe that Brant Collins began this thread to discuss "look" settings - not to hear your thoughts on workflow with links to your website. As "an experienced pro", I'm sure you can appreciate the need to stay on-topic.

Correct me if I'm wrong - I could've sworn this was the DXV100 area. Not the plug-ins area. Part of the allure of the DVX line is the ability to do in-camera image manipulation. Nattress and Magic Bullet are great. For what they do. And if you want to play around with software all day and render out what can't be photographed with a DVX. Sorry to nit-pick but come on... I've seen several uses of custom DVX settings that blew me away. That's with manual white balance, proper exposure and a solid operator. Not additional and unwanted computer time. There's a thread on dvxuser.com with several different shared settings. http://www.dvxuser.com/V6/showthread.php?t=88846 With regards to sharing, this template seems to help cut to the nitty-gritty....... MASTER PEDESTAL: MATRIX: DETAIL LEVEL: DETAIL CORING: V DETAIL LEVEL: V DETAIL FREQ: GAMMA: KNEE: CHROMA LEVEL: CHROMA PHASE: COLOR TEMP: SKIN TONE DTL: PROGRESSIVE:

Sadly - no. As is often the case with 'unedited b-roll', they cut out before David's enlightened response. They always like to get to slates, "action", any dolly moves and people watching the monitors. In one instance, this involved David seated with one of the Polish brothers (straight-on and with the over-the-shoulder reverse). Forgot to mention that I really liked the 'underneath trampoline' shot. It counts for all of 15 frames of the trailer but very cool nonetheless....

David: Haven't seen the film yet but will this week. I'm actually cutting a segment for "Hollywood One on One". It's an ongoing, international studio show. I'd seen you mention what a pleasure Billy Bob was to work with and I must say he's always been great for our show, dating all the way back to when we met with him at Telluride for the beginning of the 'Sling Blade' launch. Oddly enough, the first shot of the on-location material is Billy Bob describing to you how often green grass can look like a field of yellow wheat on film. Again - great guy and you two seem to be enjoying a nice rapport. Just thought I'd mention this little bit to you as I know how the mere utterance of "EPK crew on-set today" can often bring a collective groan from cast and crew alike. Also - I understand that most often you don't get to see the footage as you're off to the next shoot. In addition to you guys talking, there's you in video village checking the silver Sony's, more interiors, the barn & rocket (obviously) and an inordinate amount of the fairgrounds set-up. Actually, the fairgrounds comprise 2/3 of the 'making-of' footage. Keep up the great work!

I realize I previously voted for "Crack", er... I mean "Crank". After just viewing lat night, I will have to add "The Black Dahlia" to this mix. Laughable on so many levels but still downright awful. Pretty funny watching Josh Hartnett trying to not smoke the many cigarettes he was forced to give the peiod piece some period credibility. Also - major red flag when a director's forced to insert earlier dialogue to remind the viewer about what all the plot points are. At the end, still left with "Who cares?". Probably not the smartest place to have odds with a Vilmos Zsigmond-shot film but purely a plot and story critique.

I was truly racking my brain to contribute to this thread and then Brandon McCormick hit the nail on the head..... "CRANK" "Crank" has got to be one of the worst films I have ever seen in my entire life. And - I have seen a LOT of BAD films. I have taken great pride in making it through some un-watchables. This flm has absolutely no redeeming qualities whatsoever. It is rare that I find myself pondering the many other ways that money and talent could've been spent than rendering such a loathsome, awful mess. I've enjoyed most things Jason Statham attaches himself to. Not even he could save this nghtmare. Not even Amy Smart sex-in-public in front of an awkward crowd could salvage it. Just terrible. The directing team of Neveldine & Taylor (how lame is that) apparently met doing some FX on "Biker Boyz" and conned some poor saps into ponying up for this stunted adolescence swiss cheese piece of script. Next time out, they should maybe stick close to the render farm. My apologies to DP Adam Biddle as his work could only do so much for the finished edit.

I realize this thread's a bit dated given your urgency. If you need more, always check out http://www.dvxuser.com. There's a screen grab and footage section with tons. Hope that helps (though maybe a little late)......

I'm no photoillustrator (obviously) but this might help with the debate. Just threw this together to give someone an idea of a possible set-up with the lighting situation I described above. Just try not to laugh too hard. Thanks again......

Some people may disagree but I've had a lot of success with eBay. This includes some pretty major equipment purchases. You can easily find out how 'real' a person is by asking them questions before their listing ends. Their communication (or lack thereof) can speak volumes. Oddly enough, some of my best experiences were with people halfway around the world that barely spoke English. Obviously not recommended for lighting equipment shipping but still...... Just try a search on 'arri', 'lowel', 'mole richardson', (whatever) and sort by "Ending Soonest" if time's an issue. Hope that helps and good luck!