For this order they swapped out the OLPFs to low light, as requested, but neglected to change the color matrix to follow. The rental house normally sends out flesh tone OLPFs in their Dragons. The setting said “flesh tone.” “What kind of OLPFs did you order?” I asked the client. I got into the menus of the nearest camera and drilled down to the settings for the OLPF’s color matrix. It occurred to me that might be the difference between RED’s low light and flesh tone OLPF filters.
He went on to describe how cutting far red/IR closer to the visible spectrum would eliminate that crosstalk and result in much more saturated and accurate color, but at the cost of making the camera slower. Unfortunately this causes crosstalk between color channels, which desaturates color significantly.” This boosts exposure in several color channels, much like flashing film, and reduces noise, making the sensor appear more light sensitive. “A common trick sensor manufacturers use to boost ISO,” he told me, “is to let a lot of extra far red/IR pass through to the sensor. We were talking about sensor packages and their attached spectral shaping filters, and how that filtration affects the image. While the director desperately played with gain settings to try to remove the red cast, I wracked my brain as to what might be happening.Īnd then… I recalled a conversation I’d had with a color scientist a while back. We looked through the surface menus and, as best I could tell, everything was fine. If I saw that in one camera then I might have thought it was a software glitch, but I saw this in all three cameras. The client booked the cameras and the crew before they hired me, so I stepped in a bit late and wasn’t involved in the camera specs.Īll three cameras displayed images that were overly red. Recently I shot a project with three RED Dragons. This is essentially a continuation of this other article. If you haven’t read it first then it might be a good idea to check it out. Read on, and download it and the end of the article… After much experimentation, and a bit of failed hacking, I’ve come up with a good full-range Cine-EI LUT for Sony FS7/F5/F55.
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