Sony FS7 Colour problem

Hi, I have a problem with the FS7 since we started using them in December. Almost all the time the camera produces some tints of red really bad. I tried to search the internet for similar problems but didn't find anything similar. In the link are two screenshots where the reds perform real bad. http://imgur.com/f6Z9uSq Camera is set to custom and SLOG3. Maybe somebody know how to work around this problem. Thank you.

If I may just add to what Doug has already correctly contributed. First, I come form a broadcast background not cinema. I mention this as my interpretation of light and chroma can sometimes be skewed with the medium in which we work, where colour science subtleties were often left to those who dabbled in the art - that's another discussion I'm sure. I would like to add that we shoot eveything Cine EI such is the nature of our work and therefore all footage is graded. Assuming all monitoring setups have been observed, making a value judgement upon colour must be in context with the source lighting and, especially when judging resultant colour of fabrics, is often a function of the fabric itself in relation to not only lighting colour but also angles of incidence and reflection. Different fabrics have different reflectivities in both the chroma and luma component. Therefore, I would liked to have seen a Mcbeth or colour chart under the relevant lighting and angles. The appearance of saturation to the ****** eye can often change depending upon fabric type and quality. Also as one who shoots a lot of exteriors, grass also has its moments too. However, from my experience of the FS7 in Cine EI, we have had no problems getting colour faithful to the original or to that which is pleasing (for the client) in the grade. In addition, we will also shoot exclusively 10 bit not 8 bit. Just another perspective for consideration. Claire

Similar Messages

How do I ingest Sony FS7 footage into Premiere Pro?

Hi! I was told the Sony FS7 footage can natively ingest into Premiere. But my footage is crashing every time I try to import. Any ideas?

Perhaps depends on the camera. I've ,,, in my little experience ... come across some that was. Don't remember which brand/camera was used ... but it was a total stopper. It was the first AVCHD I'd worked with, and I copied (as is not uncommon for the uninitiated) the folders that seemed to have actual video content. Finally got VLC to play it from my computer, but it was only video ... so after a bit of learning over the net, figured out the error of my ways. Sure enough, soon as I added the folder that seemed to have something odd in it but not video ... I had sound. And from the things I've seen around here with the problems of those that have trouble with sound in AVCHD (among other things) ... perhaps I'd just assumed the same thing applied universally.
I've done only a little AVCHD with my GH3, just enough to test out the comments from others that the AVCHD was noisier than the MOV files ... which, yes, they are. Not terribly, but ... MOV is simpler to work with, why shoot a noisier codec?
Neil

B&w colour problem

I have uploaded this website: www.ambientdesign.com.au
The problem is that in Internet Explorer, the colours are
b&w. Everything else looks OK.
Another issue (which isn't as much of a concern as the colour
problem) is that in Mozilla a few elements move position eg: the
text in the footer appears below the footer. Thanks for
help.

Are you working on this page right now?
I see the page as I suppose it should be in Firefox, but in
IE6 and 7, there
is no styling whatsoever... the images are in colour, but
it's not reading
the stylesheet at all.
I have no idea why, apart from the fact that it may have
something to do
with sitting as a sub domain of your hosting account at
ozemail or
something....
May I ask why you are using frames for the site - there
doesn't appear to be
a real reason to use frames for that layout?
I put the main page through the validator and there's a few
errors that may
need clearing up :
http://validator.w3.org/check?verbose=1&uri=http%3A%2F%2Fmembers.ozemail.com.au%2F~ambient design%2F
Nadia
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"ambient2000" <[email protected]> wrote in
message
news:etb886$eef$[email protected]..
>I have uploaded this website: www.ambientdesign.com.au
>
> The problem is that in Internet Explorer, the colours
are b&w. Everything
> else
> looks OK.
>
> Another issue (which isn't as much of a concern as the
colour problem) is
> that
> in Mozilla a few elements move position eg: the text in
the footer appears
> below the footer. Thanks for help.
>

Anyone getting print colour problems after Mac 10.6.8 Update?

Since June 29, when we downloaded the latest Apple OS X update, prints on all four papers I use - and have custom profiles for - have developed a green cast out of our Epson R1900. Can't help thinking that this caused by the Epson Printer Software Update (# 2.7) that was part of that Apple update. There are reams of complaints over on the Photoshop Mac forum about this update causing printers to stop completely; but none citing colour problems.
Seems complicated - according to Apple - by the fact that the Epsom driver that Update 2.7 replaced, will not work with OS X 10.6.8. To back track one has to back track the complete OS to 6.7. Something to do with Snow Leopard being made ready for Lion.
Oh, and yes - I have recalibrated my screen since the update; and yes, have exhaustively run all the maintenance tasks on the R1900.

Seems we have sorted the problem, and I thought it might warrant us sharing that - particularly as it was less than obvious. We use four paper types and have pre-sets for each in the Print Module. Actually eight presets as the four are duplicated for two paper sizes. Each pre-set includes a custom-made ICC profile for the paper/printer (an Epson R1900).
Following the Apple Software Update to OS X 10.6.8, there appeared a noticeable blue/green cast over all newly made prints. Nothing in the Lr3 printing process appeared to change; and so the conclusion was that something had changed in the new Epson printer driver that accompanied the update. Some time and effort was expended with Apple investigating a backtrack to 10.6.7, which proved fruitless for too complicated a reason to go into here.
Left with seeking an alternative answer, we deleted the printer and reinstalled using the original disk; opting to take the offered driver update. This resulted in driver 6.20 being loaded - the same as had been causing all the grief. However, when we came to check the Print Settings dropdown - after specifying the appropriate preset - to make sure it specified 'no colour correction', it was obvious that the ICC profile had not been recognised, although the Page Settings for the preset had. Each box in the dropdown merely contained the default - plain paper, Colorsync, etc. Manually entering all the criteria in Print Settings - as should have been picked up from the preset - produced a perfect print. Perfect that is compared to one printed prior to download 10.6.8.
The odd thing about this - and the one that left us clueless - was that before deleting and re-installing the printer - the Print Settings dropdown reflected all of the criteria of the preset. Everything looked normal, except that is for the hair being pulled out by those wasting time, paper and ink after a solution.

Printing Colour Problems ...

I know this is a common cry for help, but I am having a dreadful time trying to understand colour profiles, despite spending a lot of time reading up on the subject. Here's my basic dilemma:
I have calibrated my display (Apple 23" Cinema). I am using an old Epson 830U for basic home proofs. I have set up my proofing profile in Aperture to match the printer and paper I'm using. When I print from Aperture I select my printer and paper in the colour sync profile, and in addition I ensure that the paper type is correctly specified in the printer's settings (and I also deselect colour managment in the printer settings).
Does this sound right ? I've noticed that even just a small mistake, e.g. forgetting to select the paper type correctly, can lead to extreme colour differences.
At the end of the day I'm not despertate for perfect colour in my home proofs, but I am trying to get them to look approximately right. It's not uncommon for me to end up with extreme colour problems. I can't print anything from iPhoto without it coming out too dark and with a blue tint. Luckily, printing from Aperture seems to produce better results (I just wish I knew why).
Surely it shouldn't be this hard to set up a basic Epson photo printer on the Mac.
If anyone knows of an idiot proof guide to home photo printing using high end applications on Mac OS X, feel free to point me in that direction.
Paul

I suspect it really is intricate as opposed to hard. But here's my "Dummies/Idiot's Guide ...." for you.
The difficulties start by reminding ourselves that color is perceptual. Our retina sends a signal to our brain, and our brain translates that to a color. But, who knows what color you perceive as blue compared with myself if we both stand side by side and look up at a blue sky. we've just been told since a baby that it's blue, but our brain does it's magic and we "see" what it tells us. This translation issue between retina and perceived image is behind much color-blindness ... a difficulty in perceiving a color difference.
Since we can't "standardize" our brains (well not anytime soon), what can we standardize that can reduce variance in our actual and perceived perception?
Perception is 9/10's of the Law:
Ever taken your laptop outside? When you can actually see the image due to the relative brightness of the outside to indoors, did you notice that colors seemed different? Your eye is adjusting to the ambient light, and your brain gets in on the act. Your brain decides that the brightest light source is essentially "white" and so tricks us. That's why we can take a photo inside under tungsten light, and what looked white to us as we took the shot comes out as yellow-orange. Quantum Physics time: Tungsten releases "light" (electromagnetic radiation) at this frequency when electrons that had been bumped up to higher energy states (by us supplying power from the on/off switch) fall back to a lower energy state and give off or 'emit" a packet of energy comprising the difference between those two states.
Halogen headlights look brighter, but also whiter than tungsten headlights. That's because the radiation they emit is somewhat bluer. Xenon headlights are even more blue biased.
The sun gives off light from a whole collection of different elements, but by and large it is yellow/red. However, there is lashings and lashings of it compared to a tungsten bulb, and our poor, overworked brain is left to cope figuring out brightness vs. whiteness. Our brains do OK, but they do it by tricking us rather than science.
Home is where the heart of the problem is:
So, OK, we've taken some photos, and pressed this button to "auto white balance" or selected a "white balance" that tells the camera that although white isn't really white, pretend that it is, since our brain is also pretending. Of course, if we forget to tell our camera this, we have to tell Aperture or PS CS2.
But, sat there in front of our screen, what are we really seeing? Well, we are not seeing just the displayed image, no oh no. That would be too simple! No, our brains are passionate about their environment. What's the lighting? Fluorescent (I hope not), halogen, tungsten? This matters as our eyes/brain will calibrate to more than just the on screen image. What wall colors exist? Blue, red, green, off-white? Those refceted colors are going to fool our brain into believing that the image on screen has a tint. This is why Aperture's window is all gray, and photo professionals strongly suggest image editing is performed in an all gray room, with as "white" a light source as possible (halogen vs. tungsten, tungsten vs. fluorescent). BTW. I dislike fluorescents as all the bulbs seem to have hideously different colors, and age badly across time. That plus the rather unattractive greenish tints they give skin tones puts me over the edge.
Oh, and no desklights with their nice pool of incident light or other effect lighting. Save that for the living room. This room is to reduce the trickery that your brain can throw at you. So, nice uniform, diffused lighting.
Watching you watching me:
But if we're now living in our nice gray world, ready to edit those wonderful images that we used the right white balance for when shooting, what next?
Calibrating your monitor means you standardize against those who wrote a color profile for the printer, the paper or who will be printing images for you. Your image should look the same on someone elses monitor as it does on yours. That's step 1.
However, displayed color is also perceptual. CRT's render color differently IMO to LCD's. Both are transmissive, but brightness differs and perhaps more importantly, what is color? Outside, our eye saw all the different wavelengths it was capable of sensing and passed the relative intensity values per wavelength to our brainiac computer. Not so in our digital scanner or camera. In computer technology, color is rendered as a triangular space represented by a dot at each apex ... one red, one blue and one green. Those point "phosphors" in CRT vary from manufacturer to manufacturer and to the standard required. Close but no cigar. The electronics and guns also do not track perfectly linearly from pure black (no signal) to pure white (max. output of a phosphor of equal intensity to the others). This is called gray-scale tracking and unless it is near perfect, you can see green or blue shifts in color at the black end or white end etc.
Uh oh, that white question again. Come to that, how do I know it's the same white that I set my camera to when I shot? Well, we don't really wiothout setting to some standard. It's not that each phosphor isn't emitting, it's the balance across them at our determined highest brightness (white) that needs to be set. D65 is often quoted in TV's, representing a color temperature of 6500Kelvin (deepest reds are low temperature emmissions and brightest blues are the highest temperatures).
Now LCD's don't have phosphors illuminated by a stream of electrons, and they came long after we had developed pretty decent CRT technologies. So being lazy humans, we lifted the ideas and terms No phosphors, but they do have red, green and blue LCD's (each a sub-pixel, and the three combined are a pixel)triggered by an electronic signal. so, why aren't they called LED panels? Well, LED's are not very bright, and we need a mechanism to make them brighter. Those quaint watches came to the rescue ... LCD's or Liquid Crystal Displays. You know, those ugly greeny/gray, low contrast watches. Yes, that's the one. Sandwich those colorful but dim LED's between an LCD, and use the LCD to switch on/off a powerful light ... rather light turbo charging a 4 cylinder motor to make it perform like a V8! The posh name was TFT-LCD (for Thin Film Transistor LCD). Now we have a bright, flat screen. Yahoo!
But backlighting of the panel is not always very uniform (look at colors around your screen for different flat colors at different intensities and you may see patchiness). Nor do LCD's behave exactly like phosphors from deepest black (impossible when you have to have a back light which is always on and which illuminates the whole panel of glass) to white. But why sweat this, when the LCD rarely conforms perfectly to the red, green, blue phosphor standards.
BTW, it is the backlight that kills laptop battery life, not the LCD's themselves. Turing your brightness down as low as possible helps .... but I digress.
So we buy calibration hardware and software, and calibrate our monitor to a ruler flat grayscale from pure black to pure white.
And it looks bad.
It is rather idiosyncratic of us that a perfectly linear gray scale can leave us perceiving a lack of contrast. So, we distort the "gamma" value to provide more punchiness. Apple vs. Windoze computers tended to have different gamma's out of the box. Apple uses a gamma of 1.8, a rather flater, more pastel effect that, if my knowledge is correct, translates/translated better to the characteristics of the professional CMYK (Cyan, Magenta, Yellow, Black) four color printing processes used by offset litho printers. Windoze uses a gamma of 2.2, a punchier, gutsy, in-your-face effect. Marketing? I don't know. But it does appear a better match for RGB (our computer friendly Red, Green, Blue) inks used in inkjet printers.
So we calibrate our monitors, and then deliberately decalibrate them (if you will) to correspond to our output destinantion.
A quick digression here.
If our output is destined for print, what dos that mean to us? Well, part is covered above. But what about web, or tv viewing from DVD? Ahh hah! Gotcha!
We can control our calibration. We can even calibrate ourselves to external print shops, knowing that our image will appear 99% or more the same on their monitors as it does on ours. And they will have calibrated their monitors to their printers and paper (more on this below). But what about Joe Public?
Back to that color space.
A 10 year old color tv, used moderately over the years, performs no way like a new color tv. The phosphors "age." even the backlights in LCS panels age. Age is represented by diminished light output, and grayscale tracking. So, our 10 year old tv cannot represent the wide color space it could when it was brand new. Worse, even if we'd left our 10 year old tv in its box and just opened it, it would not be as capable as a brand new design. TV's are actually held down to 1950's standards rather than up for this very reasson, but the same is somewhat true of computer monitors. We don't know the age, quality or even the color calibration and room environment of our web browsers monitor. So, a much smaller "web safe" color space (sRGB ... standard - or small - RGB) was introduced. This restricted space should be renderable on most old monitors, though gross end consumer calibration issues will obviously remain uncontrollable.
Meanwhile, we want to keep as big a color space as possible ... difficult to put back in what's been taken out. (Set your camera to "Adobe RGB" please right now.) Working in the biggest color space allows us to target any lesser color space with relative ease. And some of these restricted color spaces belong to printers ... which of course, differ from printer to printer, (probably more associtated with inks to inks) and paper to paper ....
More on this next
White points

Generate a camera LUT for Sony FS7

If anyone knows how to generate a 17x17 or 33x33 .cube camera LUT for a Sony FS7 directly from the Timeline that would be stellar. Or if you know how to do this from Speedgrade lmk. I am hoping not to have to buy Red Giant's LUT buddy.

Send the sequence over to SpeedGrade via Direct Link. Do what you need to do as far as effects and color go. You can then save those out as a LUT, including .cube format. (Though I'm not at all familiar with the 17x17 part.)

I'm working with MXF XAVCi footage shot in S-Log on a Sony FS7

I'm working with MXF XAVCi footage shot in S-Log on a Sony FS7 - Can anyone tell what the optimum sequence settings are for premiere pro CC. I'm editing then doing a round trip into DaVinci. Currently settings are AVC - Intra 100 1080p.
Many thanks

Frankly, your best bet would probably be to recapture from the source into FCP. Alternatively you could export the files from the Avid directly as Quicktime Movie files instead of taking the raw MXF's.
Options for working directly with the MXF's include:
http://www.calibratedsoftware.com/MXFImportQ_OSX.html ( USD 60 )
http://mxf4mac.com/products/mfx4qt/#mxf4qt_import ( EURO 399 )
http://dvfilm.com/raylight/mac/index.htm ( USD 195 )
but I have no info as to whether these would enable you to work directly with an AVID MXF

Using Sony Bravia 32" TV as a monter with my mac book colour problem

Hello,
I have connected my mac book pro 13 to the tv with a genuine apple hdmi cable adaptor and a hdmi cable.
I have mirrored the display in settings and can see the display on my mac on the tv.
The problem is the colour is awful. The colour is overly blue/purple. The greys come out almost a pink.
I also dont seem to have any sound coming out of the tv, and i think this setup should allow it. Do i need to activate the sound like you have to activate the mirror displays?
The tv colour when using sky or watching a dvd are good. The colours on my mac are good. What am i doing wrong?
Thanks Dave

Ronda Wilson wrote:
No. It's video only, as far as I know.
HDMI is audio/video and will work reliably as such between consumer devices (like tv's, dvd players, av receivers) it may also provide audio from a computer to a tv, but it depends on the tv. If the tv has multiple hdmi inputs then try them all, also the adaptor can affect the audio transmission.
All the foregoing assumes that you are going from hdmi to hdmi, if you have a dvi, minidvi or mini displayport it almost certainly won't work, even with an adaptor
Find an audio input on your tv that is active on the hdmi input (if there is one) and connect that to your mac as well as the hdmi, the awful picture may not be fixable.
Toshibas work from MacMini using HDMI

Sony NEX-7 colour problems in LR 3.6 and 4 beta

Hi everyone,
I've recently started shooting with a Sony NEX-7, using Sony's e-mount lenses.
Though the NEX-7 is supported since LR 3.6, I am getting really poor results. The colours are off and you can really see this when you increase vibrance or saturation - it just looks terrible and any incease in saturation results in bad yellows and greens. Blues seem okay. Have had no probs with my Nikon D700 and Fuji X100 files, and my monitor is calibrated.
Playing with the Camera calibration panel on a case-by-case basis fixes the colours, but I was wondering whether anybody had created a DNG colour profile for the NEX-7 camera (I've scoured the net without success) or whether it's possible that Adobe will improve the NEX-7 rendering in subsequent releases?
Using the Sony software helps identify how the file should look but it's very slow as a RAW converter and I'm a big Lightroom fan so would rather stay in Lightroom.
I would buy an X-rite kit and create my own profile but I don't think I have the right light sources to make a good profile.
Any help or pointers appreciated - it's a great camera but the current raw conversion isn't doing it justice.
B.
LR 3.6, Mac OS 10.7, Intel core i7 quad 2.0ghz, 8gb RAM

Thanks for the reply. I went through the process you suggested to change Ownership & grant permission to access files. When I get to the owner tab in Advanced Security Settings....I am already the current owner of this folder.
What do I do now?
Thanks,
Matthew Kraus

Macbook pro to sony bravia color problems

I am trying to hook up my macbook pro to my sony bravia tv. i have it hooked up through the pc input and i get a picture but the colors are all messed up. i was wondering if anyone knew how to fix the colors. i have tried the color utility on my laptop and the color settings on the tv itself and the colors are horrible. if anyone had any insight i'd appreciate it. thanks.

I completely get what you're saying with the different connectors but there is something very wrong. Don't get me wrong the picture's quality is acceptable; I mean it has smooth lines and, easy to read - etc. but the color is flat out wrong.
I know the TV can out put colors correctly, because last night I connected a Sony SR11 camcorder to the component input and all was good. I've only tested the Component and PC Input but the problem is definitely on the PC Input.
I do Graphic Design & Video Work for a living so I'm familiar when you talk about calibration, but this problem goes beyond calibration as I've been in and out of the OS and Sony's menus for calibrating and nothing seems to aid in the problem.
It seems some have this problem while others don't and what I'd like to know is if this related to a certain model # and version # of the Bravias or if its a video chipset issue. For people having problems like me --> raelle123 what graphics card you running? Also AldousH what graphics card are you using?
I know more than likely the simple fix is an HDMI cable and a DVI to HDMI converter but it really bugs me that I spent the money and the PC Input isn't working the way it should.
I plan on speaking with Sony today and trouble shoot with them. I'll also try taking video and putting that up today as well.
Thanks.

Itunes/ipod with colour problem

recently, ive been having problems with my ipod. i accidently dropped it onto concrete a couple of months back, and since then, it keeps coming up with the sad ipod icon. fortunately, tho im sure it doesnt do it any good, a swift smack to the back of it, and a restart usually gets it to work.
a couple of days a go, i had a pop-up on itunes saying that my ipod was corrupt, and needed to be restored. i clicked cancel the first time, but it came up again when i restarted itunes. i done this, and everything was fine. no sad ipod icon. however, now itunes wont open when my ipod is connected, but when it isnt, it'll load fine. i've tried it on my other pc without the internet, but that says about the ipod software not being installed properly.
i also cant access it via my computer on either computer, they both freeze, and stop responding.
i didnt buy my ipod from apple, so im pretty sure i cant just send it to them to get it fixed/whatever they can do. is there anything i can do, or would it be easier just to get a newer ipod?
ipod with colour Windows XP Pro

if still does not solve try this
. Windows users having trouble with their iPods should locate a Mac user. In many cases when an iPod won't show up on a PC that it will show up on the Mac. Then it can be restored. When the PC user returns to his computer the iPod will be recognized by the PC, reformatted for the PC, and usable again. By the way, it works in reverse too. A Mac user often can get his iPod back by connecting it to a PC and restoring it.
Tips
a. It does not matter whether the format is completed or not, the key is to erase (or partly) the corrupted firmware files on the Hard Drive of the iPod. After that, when the iPod re-connected with a computer, it will be recognized as an fresh external hard drive, it will show up on the iTunes 7.
b. It is not a difficult issue for a Mac user to find a window base computer, for a PC user, if they can’t find any Mac user, they can go to a nearest Apple Shop for a favor.
c. You may need to switch around the PC and Mac, try to do several attempts between “Format” and “Restore”
http://discussions.apple.com/thread.jspa?messageID=2364921&#2364921

Update to 10.6.8 colour problems with external display

I have a mid-2010 13" macbook pro. I use a mini DVI to HDMI adaptor to connect to my Philips LCD TV. It has always worked perfectly including audio. Since update to 10.6.8 (yesterday) there is a colour-cast on the external display that makes it unusable. I have tried a hard reset of the mac with no effect except that the colour cast changed from green to red (strange!).
Anyone had a similar problem or have any ideas how I could solve it? (no time machine so I can't downgrade unfortunately)

Though I am using and iMac 27 and not a macbook, I have the similar issues since the 10.6.8 update.
I too am using the adapter to connect to a Philips 42' LCD.
You can see my post here: (has a pic of what my TV image now looks like since update.)
https://discussions.apple.com/message/15488605#15488605
I ended up going back to 10.6.7, not a fix, but no other alternative..
I used to have this problem a year ago on a PC that happened to have the same ATi Graphics card. I just used the ATI control center and changed a setting to YBR component or something like that in some color settings. But unfortunately we don't have the ATI control panel for mac, least I don't think we have any kind of alternative, but would prolly fix it..

Colour problems when opening PEF files in ACR

I have the problem that when I open a (Pentax) raw image in ACR the colours (particularly blue it seems to me) go awry.
If I open the image in Pentax Photo Browser the image is displayed correctly.
If I convert the image to jpg in Pentax Photo Lab the image is displayed correctly.
If I open this jpg in Photoshop Elements 8 the image is displayed correctly.
It's only when I open the raw files directly in Photoshop that the colours are wrong.
Opening the raw file in Elements opens the 'Camera raw' window, which has various adjustment tabs with sliders. What ever adjustments I make in this window, I cannot seem to replicate/keep the correct colours.
I have tried resetting and then using the Camera Raw Defaults.
I've also tried some other adjustments, i.e. setting the white balance to 'Daylight' (as this is how the camera is usually set) and the camera calibration to 'Camera Standard' - I can get the blue somewhat close, but then the yellow is out.
So, at the moment, I have to process the raw files in Pentax Photo lab, then open and edit them in Photoshop.
It would be nice to be able to bring single PEF files into PS without having to convert them first.
What on earth am I doing wrong? Or is this a genuine limitation with ACR?
Any help/guidance would be appreciated!
Regards,
Dingo.

Jim Hess,
That's helpful advice, thank you. Sadly, I've been unable so far to make adjustments in ACR that are anywhere near (IMHO) the images as displayed in Pentax Photo Lab. Even the (truly awful) MS Office picture manager provides more consistent colour.
I'm still convinced that I'm doing something wrong. I know that Elements is much cheaper than full Photshop (something that I simply can't afford to buy) but to be so wildly out is unbelieveable.
For example, I took a photo of a jet passing overhead, with (out of focus) leaves on a tree, then went in and loaded this onto my computer. IMHO the Pentax Photo Browser showed the scene pretty much as was. After converting to jpg in Photo Lab, I loaded into PSE 8 and Office picture manager - both display consistently with the raw image displayed in Photo Browser.
However, when I loaded the same raw file into ACR the blue sky has a greenish tinge that I can nearly adjust out, but either way, the green leaves look muddy and the colour is weak. If I get the leaves good, then the blue is very over saturated. When I compromise both the blue and the green, the aluminium fuselage on the jet has a red/purple tinge.
Some more information: Monitor is calibrated (I borrowed a colleages Huey). Camera and PSE are both set to Adobe RGB. I print to a Epson R1400, with colour management handled by PSE, and the colour matches the screen very well.
Any further advice much appreciated.
Regards,
Dingo.

FCE HD Output to Sony Trintron Monitor Problems

I am trying to output my Program Canvas to my Sony monitor, via a Hollywood Dazzle Firewire converter. When the Dazzle is trying to output to monitor, I get a very pixelated image and distorted audio.
All the settings under view appear to be correct, with Apple Firewire NTSC. Are there any thoughts at to what I might be missing here that could help fix this problem.
Thanks

Connect your DV cam & see if you can play your Canvas to your camera. If that works ok, then the problem is either in the Dazzle, the TV or your cables. I would suspect the Dazzle first, or perhaps the FW cable second. Check whatever you can on the Dazzle setup - there might be some DIP switches on the bottom that need to be set.
You might find some informative/revealing material in this review.
(fwiw, I've never been wild about the Dazzle products myself, the quality never seemed up to other products on the market.)

Sony A7s. Problems conforming 59.94 to 23.976

Hello
I'm trying to Modify / Interpret the footage so it plays back in slow motion. I've been doing this for years without a problem however this is the first time I'm cutting with Sony A7s footage. As usual I go into the browser control click the clip > modify > Interpret footage and change my frame rate.
This works fine on some clips and the other clips it looks like I just slowed down a normal old 24 FPS clip.... That ugly choppy playback where all the in between frames are missing.
So far the only distinguishable difference I can locate is the file format. Below is a sample from two clips, the info is from the clip properties in Premiere.
Clips that won't conform properly
PRIVATE/M4ROOT/CLIP/C0023.MP4
Type: MPEG Movie
File Size: 1.6 GB
Image Size: 1920 x 1080
Frame Rate: 59.94
Clips that conform fine
private/AVCHD/BDMV/STREAM/00003.MTS
Type: MPEG Movie
File Size: 136.9 MB
Image Size: 1920 x 1080
Frame Rate: 59.94
It obviously doesn't like that .MP4 or M4ROOT
Does anyone have a work around or any technical explanation of what is distinguishing this .MP4 from others ?
Also I tried to conform in cinema tools but that doesn't recognize .MP4 clips and it won't open them.
Any help, advice or links would be greatly appreciated!
Thanks

Your post scared the crap out of me. Ive shot about 10 weddings using the A7s and all of it is shot at 60p in XAVCs and then edited on a 24p timeline. Most of it is slowed down. I hadn't edited any of my footage from the last 10 weddings so I got scared that all those weddings would be choppy as you mentioned when it's slowed down. But, I just checked with a wedding I shot today (all at 1080p60 XAVCs (in that M4ROOT folder) on a 24p timeline) and it wasn't choppy on this end. Not sure what's happening on your end to make it not smooth slow-mo. Did you double check your sequence settings? I don't know. I have no idea what to tell you except that it "should" work okay. I do know that if I took a 60p clip and slowed it down 40% on that 24p timeline then I get the same smooth slow-mo result as doing it the normal "interpret footage" way. What happens if you do it that way? If that same clip was nested first and then slowed down 40%, it appears choppy. Sorry if I'm of no help. Just reporting what I see on my end.

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