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A little help here


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#1 Dimitrios Koukas

Dimitrios Koukas
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Posted 08 September 2005 - 02:18 AM

Hello there fellow Dp's
I have started an everyday tv series (Drama/ shoap), and was asked from the production office and the directors to change the way Antenna tv channel treated all the programs of the same type untill know.
You see I come from the advertising field, so they have choose me for this.
Problem is, that I have realise that there aren't any good reference monitors in the whole production facilities.
The technical advisor of the whole TV channel told me to look only the osciloscope.
Hehe, that has nothing to do with art and aeshtetics anyway.
Also he insists that the ikegami monitors we use are great, even that I believe that are of a monolithic (80's) technology.I can't see any whites in them!
Now check this out. I discovered that the guy that is doing the cameras calibration, prefers to go with the knee adjustment knob full right, something that ok it gives me the whole latitude of the ccd's, but crushes the highlights too much.
I have corrected this by going somewhere in the middle of the knee.
Question. Where I should go for the faces? 60-70% for day interiors, and 50-60 for the night interiors?
All the shooting is in a tv set.
I have big windows everywhere, wich I have them overexposed to give the bright sunlight that burns the winow effect. Sometimes I go over one volt. Is this ok?
Regards
Dimitrios Koukas

Edited by Dimitrios Koukas, 08 September 2005 - 02:21 AM.

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#2 Laurent Andrieux

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Posted 23 September 2005 - 06:57 PM

As nobody gave you any answer, so far, I will try to help a bit, if I can...

1) concerning the monitors : you can tell the guy they used to be great but they just went old, are dead and need to be changed...

2) What cameras are you using ?

3) When you give the values (60-70% for day interiors, and 50-60 for the night interiors?) do you mean the value of the signal at where the knee cicuitry will work or do you mean the strength of the cicuitry, so that 70 would mean the knee point would be lower than if set at 60 ? (that depends a lot on your camera model and the way the menu "works"...)

'cause I may be wrong, but I actually would set the knee point lower for days than for nights... I mean I would even let the knee off ("knob full right" as you say) for nights and put it at maybe 60/70 % (of the signal = 60, 70 IRE) for days with windows...

4) Going over 1 volt : you should ask your editor/postprod department.

It's often that cameras are left with a dynamic of 1.1 er even 1.2 V, and let the postprod guys compress or sometimes clip the whites as they wish...

The thing is a higher signal (than 1 volt) is not that much a problem as it was before, unless you Digital Sattelite this signal, nowadays... But you still have guys screaming if you do go over 1 V sometimes and honnestly, I dont find keeping the signal at that level means that much a loss considering the image's rendering...

I think you're right not letting always the "knob full right", but if the camera guy crushes the highlight so that they stay at 1 V maximum, I would just keep that.

Changing and setting the monitors is a need to therefore judge the image.

Maybe Dominic or Phil could be of an help on this...
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#3 Dimitrios Koukas

Dimitrios Koukas
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Posted 24 September 2005 - 12:39 AM

As nobody gave you any answer, so far, I will try to help a bit, if I can...

1) concerning the monitors : you can tell the guy they used to be great but they just went old, are dead and need to be changed...

2) What cameras are you using ?

3) When you give the values (60-70% for day interiors, and 50-60 for the night interiors?) do you mean the value of the signal at where the knee cicuitry will work or do you mean the strength of the cicuitry, so that 70 would mean the knee point would be lower than if set at 60 ? (that depends a lot on your camera model and the way the menu "works"...)

'cause I may be wrong, but I actually would set the knee point lower for days than for nights... I mean I would even let the knee off ("knob full right" as you say) for nights and put it at maybe 60/70 % (of the signal = 60, 70 IRE) for days with windows...

4) Going over 1 volt : you should ask your editor/postprod department.

It's often that cameras are left with a dynamic of 1.1 er even 1.2 V, and let the postprod guys compress or sometimes clip the whites as they wish...

The thing is a higher signal (than 1 volt) is not that much a problem as it was before, unless you Digital Sattelite this signal, nowadays... But you still have guys screaming if you do go over 1 V sometimes and honnestly, I dont find keeping the signal at that level means that much a loss considering the image's rendering...

I think you're right not letting always the "knob full right", but if the camera guy crushes the highlight so that they stay at 1 V maximum, I would just keep that.

Changing and setting the monitors is a need to therefore judge the image.

Maybe Dominic or Phil could be of an help on this...

<{POST_SNAPBACK}>



The problem is when u have the knee full right, wich compresses the signal too much u have a problem with mid tones wich are the fleshtones.
Most of the faces come up like u have throw mud on their faces and get a ''clay'' look.The Cameras were the Sony DXC 35D
But don't worry anymore I have resign from it, all the people they gave me for a crew were too amature for me.
As for the monitors there were brand new! (this is what they told me) problem was though that if you were trying to adjust the contrast from preset to manual u couldn't see any difference!
Hehe- brand new with a curved screen like a chinese lantern?
I am carying on now with my beloved Tv commercials mostly 35mm or HD and I have a feature film in sight for the next year. It is called ''House of Gods'' and it's a fiction -documentary

Dimitrios Koukas
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Media Blackout - Custom Cables and AKS

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