A few weeks ago, I posted a video about our new AF100 ENG Kit, which uses the Hot Rod Tuner and the HDx2 B4/PL Optical Adapter to allow 2/3” lenses to work with the Panasonic AF100 camera. We received quite a response from this post, and one of the most common requests was to see some sample images from the rig. The gear has been so popular that I wasn’t able to get my hands on the pieces again until now. Andy Shipsides and I went out in the rain and rolled off a few shots until we were both too soaked to continue.

We chose to mount the Canon 11×4.7 (4.7mm-52mm) zoom to the rig, because it is both an excellent piece of glass as well as a very popular zoom, but any B4 mount zoom will work with the kit. The Canon 21×7.3 is another popular choice, as are many Fujinon and Angenieux zooms. We used an ENG version of the lens and plugged our custom cable in to power the zoom servo, as well as enable the start/stop control of the camera with the lens’ REC button.

The kit was well balanced on my shoulder, and all exposures were set by eye using the quickly adjusted Cineroid EVF.

Many cinematographers use warm and cool cards, like the DSCLabs White N’ Warm cards, to create a look in camera. By white balancing your camera on a card with warm (red) color the camera will produce a cooler (blue) balance. The opposite is also true; a cool (blue) card will give a warm (red) white balance. If you white balance off the same card in different lighting environments, then you can consistently achieve the same warm or cool look. What many people don’t know is that this same method can also be achieved in camera through white balance offsets. This option is available in many pro cameras and is simple to set. Depending on the camera, an offset can be applied to the preset, A or B white balance settings. The offset works simply by adjusting the white balance to be cooler or warmer. Just like using the same warm/cool card, the offset will be applied to any white balance that you run. The advantage to using the offset over using the cards is that you can white balance off any white surface and still get the look you are after (of course a nice white card is still advised, if available). Here are a couple examples of how this is set in different cameras.

…continue reading Using White Balance Offsets to Create a Look

For the second part of the ENG Essentials – Camera Matching Series, I will be adjusting the gamma settings on the VariCam 3700 (HPX3700) to match the gamma curves on the EX3. The HPX3700 has more gamma adjustability, so I chose to set the EX3 to a setting I liked and then adjust the HPX3700 to match. Every manufacturer has different gamma curves, so my goal is to set the two gamma curves to match as closely as possible using a DSC Labs ChromaDuMonde chart and Leader scope.

…continue reading ENG Essentials: Gamma Matching

This is the first part of the ENG Essentials – Camera Matching series, and the first step to matching two cameras. White Shading is an in-camera process where a lens is matched with a camera’s sensor. Every lens and every sensor have unique characteristics, and the combination will often produce uneven color across your image. White shading corrects for this uneven color by adjusting individual color channels (R,G,B) from top and bottom and from left to right. This is done with a Leader waveform monitor and a white sphere that is designed to produce even white light.

Another important step after white shading a camera is to match white balance values. All pro cameras have preset and user defined white balance values – the P,A,B switch. If you run a white balance on two cameras looking at the same white card, in the same lighting environment, you will get very similar results. But if you plan to use the preset values (3200K,5600K) we need to be sure that both camera actually produce the same color white. Different lenses produce different white values, so even though the camera thinks you are at 3200K, it may be completely wrong. This can be corrected for by adjusting offset values in the camera, and making sure that both cameras have matching white values.

Watch my video below to see how these two steps are done.

“ENG Essentials” is a new series of articles and videos aimed at assisting anyone who owns a professional video camera. At Abel, we support camera owners everyday and this is just another way of us extending our service to you.

In the first part of this series, I will be covering the process and art of matching cameras. I will show how I adjust one camera to match, or at least come close to, the look of another. This is an essential process when working with multiple cameras, and your editor will praise you for it. I’ll be using DSC Labs Charts, Leader scopes, and our custom built white sphere to match the cameras. And to make this really challenging, I will be matching a Sony PMW-EX3 to a Panasonic Varicam 3700! The series will be in three parts: White Shading, Gamma Matching, and Color Matching. So stop by again soon to check on my progress.

The White Shading & White Offset Seciton is now online.