>In my experience most LED ‘tungsten’ lights skew yellow That's my experience. There seems to be a choice: too green (yellow) or not enough green (magenta). I think Litepanels errs on the magenta side

>In my experience most LED ‘tungsten’ lights skew yellow It's actually an excess of green, which often looks yellow—especially on faces.

Wow. Bad and worse.

Add me to that list.

I think the answer is for someone to take a camera sensor--perhaps actual camera sensor rejects--and make a light meter around it. The meter would effectively see what a camera does. I don't think col

The sensors in exposure meters have spectral shaping filters so they only read the visible spectrum and not UV or IR. They peak around 525 ("green") and sensitivity tends to roll off toward the upper

What Alister said. Light meters primarily read green, so if an LED punches that hard or has a spike somewhere else then it might throw things off. Meters don't care about metamerism, they're just coun

It's been pointed out to me that I contradicted myself, saying that Hall and Willis didn't underexpose their images, but that Jack Green didn't want to underexpose the way Hall did. Let me rephrase: G

M: Argument is an intellectual process. Contradiction is just the automatic gainsaying of anything the other person says. O: It is not.

Neither Gordon Willis nor Conrad Hall "underexposed" their images. They exposed them exactly the way they wanted them. Sometimes that meant working in the toe. There are several sequences in Jennifer

Is every stop of visible dynamic range useful when shooting with an Alexa or RED or Varicam? Not generally, no. It depends on how much noise one can tolerate. It also depends on the viewing environmen

Well, if I shoot a Xyla chart, I see 14 stops. As you say, f*ck the numbers, look at the pictures. :)

I agree with Mitch on the LED light. At that point you're not really testing the camera, you're testing the light. For me, a camera test only works if you use light sources that are available to every

I'm curious where you got that number. I can see the full 14 stops in 10-bit ProRes. The bottom ones are pretty subtle, as they are in any camera, but they are there. I certainly don't think you lose

One doesn't have to auto white. Two other options: 1) White balance in post. 2) Manually white balance using a monitor with parade RGB and the camera's CCT/CC controls. Fast and easy. I do this with R

You're using one chart in a way that it was never meant to be used, and I'm simply pointing out that there's another chart with the exact same colors on it (barring a couple super saturated hues that

Showing the difference in engineering presets is interesting. It is not useful. Failing to white balance the images at some point makes the visual comparison useless, as you're letting someone else's

This target is an absolute. Nothing about color is an absolute. No two cameras are going to render this in exactly the same way, as cameras are not absolute machines when it comes to color reproductio

>Not to quibble but critical color analysis is certainly possible without either white balancing before shooting or white balancing in post - you may not like the camera’s rendition but if you have sh

Why would you use the Chromamatch? It's designed as a visual reference: you shoot the chart, overlay a digital reference image in post, and then match the background to the foreground by eye. This has