Our crew has been using an AG-HPX500 for about 18 months. The camera went into service "right out of the box".
To me the reds have always been hot as I import the files into FCP. Flehstones always appear over saturated and orangey. On the upside I have become pretty proficient with the FCP 3 way color corrector, but that's not the way I want to spend my life ;)
In the analog daze I would send the camera to the shop for a complete setup. What do we do now in the digi-daze¿
I am positive our DP, as the sole operator, knows what he is doing - I have worked with him for 25 years. But you know how touchy these DPs are - so I am looking for advice so I don't insult his work.
Any ideas? Thanks in advance!
TnT Video Services, Inc.
Fort Lauderdale, FL
TRI EA5 1974-1977
Convergence ECS1B 1977-1979
Sony BVE 500 1979 - 1984
Datatron Vanguard 1984 - 1993
GVG VPE141 1993 - 1998
Media 100 1995 - 2006
Final Cut Pro 2005 to infinity and beyond!
There are many controls in the menu of that camera for modifying the look. He should be able to dial in just about any look you would like and save it to a card. No tweakers needed as in the analog days. Just a knowledge of the menu items.
I am a DP and editor and my HPX-500 is perfect. Without being hands on with your camera, it is hard to tell. 18 months is a long time to go without checking things out. As a shooter, I can tell right away if a color is off. Even with the LCD monitor.
Don't be afraid to confront your DP. Constructive criticism is always welcome. Even for a 20+ year experienced DP like myself. A second pair of eyes is always helpful.
I would have someone else look at the camera.
Eisen Video Productions
Chicago Final Cut Pro Users Group
Hi for few last days i use 500. Color is "warm" going to yellow and red, but it is Panasonic. I change in camera menu gamma to "video" and "news". Low contrast, high detail, master ped -2 (for sun days), white is preset (5600).
But indoor (indoor church - red bricks, very high and more sun light) picture is very pretty, litte going to red and yellow, but it is natural for panasonic. White balanse is 4000.
This is test:
Lens is very bright (Fujinon H22x7,7)
Shift "picture" to Sony, you move yellow color to blue, and add more cold blue colors in high gamma. (I use avid media composer, and don't talk about FC, how to do it)
Summary: from Panasonic picture is always different, but it is Panasonic.
Yeah I'd recommend a servicing. And when it comes back take some time to setup scene files with a properly calibrated monitor. If things look a lot more red than you want and you can't easily correct out that could be a subtle bit of operator error- well not even error just a different eye. Any truly good DP will take constructive criticism properly and realize you're on the same team.