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Rob, we've got the camera set up here. Why don't you walk people through what you need to do on the Blackmagic Camera, and explain the settings you're choosing. You get it set, I'm going to take some notes and then I'll try to set up the Pocket Cinema Camera and see what we can get. >> Sounds good. >> Alright, go for it. So the first thing that I always look to when I'm setting up multiple cameras and I don't have a lot of fancy shaving or painting equipment. And I'm not in the you know, a new studio, is I try to set up one of the cameras, as my hero camera. And in this case we have good friend of ours Patrick Inhoffer, who's also a professional colorist by the way, so he's pretty good at matching cameras.
Sitting in, looking lovely there. And I want to use my Black Magic cinema camera as my hero camera. We're then going to use the pocket camera, and try to match those as close as possible. So the first thing I'm doing every time I start to match a camera is I want to do the basics. I want to do things like the frame rate, and the shutter speed, or the shutter angle So on this camera, the way I do that is to simply go into the menu. And here you can see that if I go over to the recording, I'm shooting at 23.98. Really important, that's a standard frame rate. I would ask around if everybody else is shooting at 23.98.
Or make a note of it at least. Over here back in the camera menu, I'm also shooting at a shutter angle of 180 degrees. Which means basically if you're on DSLR, it'd be like shooting, if you're shooting 24, it'd be like shooting 148th or 150th, sort of double what your frame rate is. So I'm good on both of those. The next thing is I want to try to set up my ISO. Now, on this camera, the ISO, native ISO is 800. That's sort of the best performance that Black Magic has. Sort of identified as keeping it there. So, while of course ISO is often sort of going back and forth, a push and a pull if you will, with other parts of the exposure triangle, like aperture.
I'm just going to leave it set up at 800 and compensate for exposure. By using my aperture control. Speaking of aperture control, on this particular camera in this particular lens, I don't actually have a electronic aperture. It's a completely manual lens. And then aperture ring is in the front of the lens. And just looking at it right now I'm at about 5.6 or so in the aperture ring. But what does that really mean? I'm going to take a look at my wave form monitor Now I'm shooting Pat here on a white background.
And, looks pretty good. But my waveform is going to confirm what's really going on. You'll notice at the top of the waveform as I adjust the aperture, I can really clip him out so it just all goes white, or I can back it down. To where I'm going dark. Now what I want to do here is I just want to get the very top of my exposure just touching sort of 100 IRU there. So I don't want to clip it out, but I want to make it white. The rest of the image is kind of happening where it should, naturally, that midtones, his face, his body is happening somewhere between about 60, 65% up to about 85, 90%.
Now I could argue that I could use a little bit more contrast in the image. That I could pull those blacks down, but its fine its resting somewhere probably around 10, 12% and I can pull that down and post. The last thing I want to double check and make sure and make a note of, is what my color temperature is. Now on this particular camera, one of the difficulties with it if you will, is that I can't manually white balance, which is something I would prefer I prefer to bring up. A vector scope on my monitor, and manually white balance to make sure that things are right there. On this camera, all I can do is actually come into the White Balance control on the menu, and I can dial in between different white balances.
Going all the way up to from 3200K, which you can see on the monitor there, is kind of blue. And keep going through the range, up to as I said through, up to a high of 7500 K. Now for this shoot, I'm going to go right around 5600 Kelvin, which is going to give him some nice warm skin tone. That's white going to end, look nice and white. And I think we're good to go. So Rich, I think I got it working. I got my aperture the way I wanted to. With my exposure. I have the frame rate and the shutter angle set up.
>> Yeah. >> I've checked my ISO and I think I'm pretty good. >> All right, well why don't you head over to the monitor. >> Yep. >> I'll adjust this one to match and as we make adjustments here, can you toggle over? >> There we go. >> Yeah, I'm not matched, am I? >> LAUGH No. >> LAUGH. >> You're, you're, you're pretty, you're pretty dark. So your waveform right now is probably you're hanging out around fifty percent or so for the peaks. I think we need to do something with the exposure first and foremost. >> Yeah, alright, so let's get there. So, on this camera let's start by going in here to the menu. I'm going to stay in the video color space. You were in the video color space? >> I was.
Yeah. Good. And I'm doing ProRes recording. What was the frame rate you were at? >> I was at 23.98. >> Okay. And, lets go up here to the camera settings. And I'm at an ASA of 200 and you are at 800. >> That's right. Now, but it's interesting, because that was the recommended ASA for the cinema camera. On your camera, the actual recommended ASA is 200. >> Yeah, which means you need more light. And, and part of that is the sensor size and just everything else. You know, this camera wants more light than this one because it's there. >> Right. >> But, there's a big price difference. So there's 400. Can you toggle between your two shots? >> Yeah, let's see what we got.
So, here is me. And there's you. >> Alright, so. There's 800. Now I have zebras on. >> Yup. >> I'll turn those off in a second, but explain what's going on there. >> So what a zebra pattern allows you to do is very easy way to actually match shots. What it's going to do is put this on screen pattern where you can determine hey this is this level of exposure. And on both of these cameras, you can actually determine what point that zebra pattern comes on. Whether it's 80% exposed, 90% exposed, or 100% exposed. Alright, so let me go into the output settings here, and I'll actually turn those zeros off because they're a little distracting.
I had them set to 85% >> Yep. >> There's 90. >> Yep. >> 95% so, there's 100% so. >> Yep. >> Rob, explain the benefit here. Like at 95% should I be concerned that that's green? >> No I mean, well you have to think some of this is aesthetic as well. I, my general rule of thumb is I like to set mine at about 90%. Because I want to give myself some headroom in my highlights, right? That I know when I get those zebras at 90, what's getting striped or patterned there is at about 90%. And that's kind where the maximum level, for a lot of times, that I leave things.
In this case, because we are shooting him on a white background, I think you could probably bump it up to 100 and just see what's pure white. Yeah and so we have no zebras there, so nothing is actually clipped. So we're okay. We're just below 100%. But you mentioned that you checked the, the actual degrees Kelvin. So let me check where I'm at here. And I am at 5,600. But let me walk through those as well. So I can go down to 3,200. >> Very cool again. >> Yup. And as we start to rock it up, he gets warmer.
Now that's 5600, that's 6000 so do me a favor and toggle between those. That's actually 6500. Is my 6500 matching your 5600 better, or should we just do that in post? It's close, it's pretty close. I would say it's still a little off. The other thing I think we should do Rich, is I think you should adjust your f shot, just a little bit on this lens, maybe bump it up one more stop. Just so we're getting a little bit brighter than on Pat. >> Alright, so I am currently at about nine. >> OK. >> That's 11. Let's take it the other way, eight.
Seven, three. Too much? >> And, and let's see what that looks like without the zebra pattern. >> All right. >> Okay. So, you are, kind of, peaking out right around 100. You might be clipping a little bit, but let's go back and forth between those. There's you. There's me. There's you. There's me. >> I think it's interesting. Your camera has a warmer look to it. >> It does. We can play around, especially, with that color temperature setting. One of the things I pay the most attention to, as I said. Is getting exposure right. That's going to be a really big thing to match. But over all, look, we're in the ball park. We could still experiment a little bit more with the color temperature on the pocket camera.
It could have to do with the lens, the quality of the lens. The color temperature might have to be tweaked a little bit. But over all, we're getting in the ball park. >> Rob, you brought up a good point as we look at this here. >> Uh-huh. >> All of these are a bit different. Why don't we go ahead, roll some test footage, and then actually take a look at it downstairs. And we'll have Pat help us, as well. >> Yeah, and that's a good idea. And the thing I just want to stress is that even though you try to get to that target number, you, it was at 56k, and this was all that stuff. The thing is, you have to be adaptable in your game plan because of the different-sized sensors.
Because of, who knows, maybe even the monitoring. >> Yeah. >> I'm going STI out, you're going HDMI. The lenses, you have to be adaptable. So maybe the best match would actually be you add 6,500 k. >> Yeah. >> And me add 5,600 k. Now as I said before, the exposures could be matched pretty well, our perceived saturation or color temperature are slightly off. And we can play with a little bit more. And we can play with it a little bit more, but the fun of it, since we have Pat is getting him to match and post. >> Yeah. >> So we'll, we'll roll as you said a little bit, and then have Pat helps us out in post production, and in matching the shots.
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