There is a wealth of information and advice at the following, e.g. covering basic camera alignment and calibration, camera-matching and green screens.
http://www.dsclabs.com/tech_tips.htm
- Using a DSC Chart
- “Real World Use of DSC’s Fairburn 3-D Chart”
- “Exposure for Sony S-Log with New DSC Chart”
- “Selecting Production Parameters to Ensure that Picture Quality Accommodates the Intended and Possible Future Imaging Systems”
- Methodical approach to configuring the camera’s matrix.
- “Establishing a repeatable baseline reference”
- Includes S-Log
- “Matching Multiple Cameras”
- “Skin tone Waveform Levels”
- “Compromise between Color Accuracy and Signal Noise”
- While full saturation on all colors results in the most accurate color reproduction, it can introduce more noise than is acceptable for our purposes.
- We have found that a reduction of about 20% in green and cyan saturation (moving the green and cyan signals 1/5 of the distance towards the center of the vectorscope) is a good compromise between color accuracy and signal noise.
- “Do You Waveform Monitor the Lutted Image or the S-Log?”
- I waveform the S-Log, the LUTs on set can wack out the waveform … and …. are … for comfort viewing only.
- The S-Log is my neg
- “Matching the Sony EX-1 with more costly Broadcast Camera’s”
- Unless you have a calibrated monitor, calibrated chart that is correctly lit and so forth, you can tweak all you want and not come up with the result you would like.
- One thing that is a must with HD is avoiding washed out high-lights
- “Continuous Light Sources”
- There is a growing trend to use fluorescent, LED and discharge light sources for film and video production.
- One of the problems faced by these light sources is the lack of continuous spectrum activity
- “Red One and CMOS Static”
- Every time you change a lens on a digital camera such as the Red One, be sure to check the sensor for dust. The single CMOS sensor has a static charge that attracts dust (just like DSLRs).
- When dust is left on the sensor it appears as a soft grey blob in the image. This is not always visible on small displays and might not be noticed unless you see your work on a large display or projector.
- Use a loop {loup?} to magnify the sensor before blowing gently with a blower bulb or compressed air. If blowing won’t remove the dust, then use a brush designed to clean DSLR sensors, but use it with great care.
- “BackFocus”
- when performing a “flange-back” adjustment (as Back Focus is sometimes called) the Iris should be FULLY OPEN (so that) the depth of field is minimized
- “Are Six Colors Enough?”
- “Varicam Detail”
- “Noise, Green, Cyan, and Saturation”
- “Tips on HD”
- “Motion Artifacts”
- “Green Screen Technique”
- I light the screen to 55-60 units on the scope and then use the vectorscope to check and make sure I’ve got lots of saturation. I’ve always had success that way.
- It’s really more about making sure there’s more green (by 30 or 40 units) in the screen than anywhere else in the image.
- “Creating a Look”
- “Aberration”
- “Color Bar Symmetry”