AJ-SDX900
Scene Files
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Important: To
view the scenes in more detail - left click on the
images below. To save one of the SD scene selection
profiles - right click on the download link and
save the file using its current name structure. When
saving the files to the SD Memory card, take care
to maintain the naming convention of the file or
the camera will not be able to read the file.
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SCOPNORM
This is a normal program scoped at 5600K to a Chroma
DuMonde chart under 5600K lighting for optimum
color performance. Scoped as a standard base set-up,
under 5600 K lighting to DSC Chroma Du-Monde chart.
Each channel scoped so color tracks across LMH
switches. Color correction ON for all 3 positions.
Low uses matrix B while M & H use matrix A. |
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SCOPTUNG
This is a normal program scoped at 5600K to a Chroma
DuMonde chart under 5600K lighting for optimum
color performance. Scoped as a standard base set-up,
under 3200 K lighting to DSC Chroma Du-Monde chart.
Each channel scoped so color tracks across LMH
switches. Color correction ON for all 3 positions.
Low uses matrix B while M & H use matrix A. |
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EYEBALL (not scoped)
Set up to match a monitor to a chroma DuMonde chart
by visual reference and not by use of a vectorscope.
Gamma filmlike 1, Gamma 52/65/35 gain set to -3,
0, +3. Color correction ON for all 3 positions. Low
uses matrix B while M & H use matrix A. Hi color
on. |
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VIVID
(emulates a “Velvia” look)
Saturated color for shooters who like the look of
Velvia films. Gamma filmlike 1, master gamma 45
gain set to -3, 0, +3. Each channel scoped so color
tracks across LMH switches. Color correction ON
for all 3 positions. Low uses matrix B while M & H
use matrix A. Hi color on. Tweaked saturation to
the max on the primary colors. |
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XGAM (extreme Dynamic Range)
Maximum dynamic range is most effective at 0 db.
Gamma filmlike 2, master gamma 35 gain set to -3,
0, +3. Each channel scoped so color tracks across
LMH switches. Color correction ON for all 3 positions.
Low uses matrix B while M & H use matrix A.
Hi color off. |
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 | Portrait
Ideal for "get it all", under any conditions,
gun-'n-run. Scoped as a standard base set-up, under
5600 K lighting to DSC Chroma Du-Monde chart, Gamma
filmlike 1, master gamma 39/41/39, Knee 70%-99 slope,
Black Stretch +3/+1/off, Level depend 1/2/5, gain
set to -3,/0/+3. Each channel scoped so color tracks
across LMH switches. Color correction ON for all
3 positions. Low uses matrix B while M & H use
matrix A. |
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DVXMATCH (matches DVX100 colorimetry)
Matches the colorimetry of the SDX900 to the DVX100
for use on shoots that require inter-cutting between
these 2 cameras. Scoped as a standard base set-up,
under 5600 K lighting to DSC Chroma Du-Monde, detail
off, Gamma filmlike 1, master gamma 45 gain set
to -3, 0, +3. Each channel scoped so color tracks
across LMH switches. Color correction ON for all
3 positions. Low uses matrix B while M & H
use matrix A. Color correction manipulated to match
scoped DVX scene file 5. |
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3KINGZ (hi-contrast, punchy, vivid color)
Detail off, Gamma standard 1, master gamma 75, gain
set to 0/3/6, Black stretch -3/-3/-3, level depend
5/5/5, Knee 90-0, master ped -100, hi color on,
2D LPDF off, Gamma on. Each channel scoped so color
tracks across LMH switches. Color correction ON
for all 3 positions. Low uses matrix B while M & H
use matrix A. |
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3KINGZ X (extreme hi-contrast, punchy, vivid color)
Same as 3KINGZ, except Gamma off.
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Desert (Warm reddish look)
The warm look of shooting a daylight film under tungsten
lighting can be further enhanced for variations
by use of the filter wheel. Detail off, Gamma filmlike
1, master gammA 40 gain set to -3, 0, +3. Each
channel scoped so color tracks across LMH switches.
Color correction ON for all 3 positions. Low uses
matrix B while M & H use matrix A. Major changes
to RGB gain, RGB pedestal, MATRIX and color correction.
Be sure to go into the Operation/ White Balance
Mode/ AWB&ABB Offset Menu item and turn it
on, this way you will not lose the color from this
file when you white balance. |
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ICE (Cool bluish look)
The cool look of shooting a tungsten film under daylight
lighting can be further enhanced for variations
by use of the filter wheel.detail off, Gamma filmlike
1, master gammA 40 gain set to -3, 0, +3. Each
channel scoped so color tracks across LMH switches.
Color correction ON for all 3 positions. Low uses
matrix B while M & H use matrix A. 2DLPF off,
Hicolor off.
Be sure to go
into the Operation/ White Balance Mode/ AWB&ABB
Offset Menu item and turn it on, this way you will
not lose the color from this file when you white
balance. |
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LEVIZ (a faded blue look)
This is another overall bluish-cast look, but is
a different color blue and more desaturated than
the ICE look. Be sure to go into the Operation/ White
Balance Mode/ AWB&ABB Offset Menu item
and turn it on, this way you will not lose
the color from this file when you white balance. |
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FADED (warm blacks, desaturated color)
A predominantly black and white image with very subtle
color.Detail ON, Gamma filmlike 1, master gamma
45 gain set to -3, 0, +3. Each channel scoped so
color tracks across LMH switches. Color correction
ON for all 3 positions. Low uses matrix B while
M & H use matrix A. Black stretch levels, level
depend for LMH is 1, 2, 5. Be sure
to go into the Operation/ White Balance Mode/ AWB&ABB
Offset Menu item and turn it on, this way you will
not lose the color from this file when you white
balance. |
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Gritty (noisy, edgy, contrasty, vivid)
Gain and detail are pushed to create noise that mimics
a grainy emulsion. Varying amounts can be achieved
by using the L/M/H gain switch to change the looks. Be
sure to go into the Operation/ White Balance Mode/
AWB&ABB Offset Menu item and turn it on, this
way you will not lose the color from this file when
you white balance. |
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SKIPBLCH (a skip bleach look, blue blacks, cyan
highlights)
A look to emulate the skip-bleach process, when the
bleach bath is skipped in the development of color
negative film. Be sure to go into
the Operation/ White Balance Mode/ AWB&ABB Offset
Menu item and turn it on, this way you will not lose
the color from this file when you white balance. |
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AMALIE (green shadows, warm highlights)
A similar look to the one popularized by the movie
Amelie.Detail off, Gamma filmlike 1, master gammA
40 gain set to -3, 0, +3. Each channel scoped so
color tracks across LMH switches. Color correction
ON for all 3 positions. Low uses matrix B while
M & H use matrix A. Be sure to
go into the Operation/ White Balance Mode/ AWB&ABB
Offset Menu item and turn it on, this way you will
not lose the color from this file when you white
balance. |
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TROPICS (warm)
This look has warm reddish shadows and rich yellow
highlights, similar to a look used in certain scenes
in the television show CSI. Be sure
to go into the Operation/ White Balance Mode/ AWB&ABB
Offset Menu item and turn it on, this way you will
not lose the color from this file when you white
balance. |
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NEWSPRNT
This look combines the FADED look with the edgy,
distressed look of a GRITTY, to produce an image
that is low res and edgy, basically black and white
to suggest the type of distressed images in older
newspaper publications. Be sure to
go into the Operation/ White Balance Mode/ AWB&ABB
Offset Menu item and turn it on, this way you will
not lose the color from this file when you white
balance. |
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LOCONSUB (low contrast subject)
This is a high contrast program designed to compensate
for flat-lit, squashed or limited tonal range subject
matter. If your subject is flatly lit with limited
tonal range, this set-up will add the appearance
of improved lighting and contrast. Gamma filmlike
1, master gamma 57. |
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HICONSUB
(high contrast subject)
This is a low contrast program designed to compensate
for contrasty subject matter. Gamma set to filmlike
2, master gamma 35. |
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