Matching Different Glass with Spyder Datacolor
I know all of you do not have large budgets. This is why I try and help you get your creation looking its very best at a reasonable price tag. When shooting a movie, I always have to match different lenses to some extent. On Need for Speed, I was using Cooke S4 Primes, Canon Cinema Zooms, Canon Lightweight Zooms, Zeiss ZE, Canon L Series, Leica Rs, Canon CP and GoPro’s cheap plastic lens.
That is one huge collection of glass to match. Each one has its own characteristics and you need to blend these to create a seamless flow. One might be sharper or softer, warmer or colder, have more contrast or less contrast.
These things can be easily balanced if you take a brief moment with the Spyder Datacolor and infuse this into your workflow. On Fathers and Daughters, we would have our assistants fly in with the Datacolor chart and cube while slating the first take of each lighting change. We were killing two birds with one stone. At first I thought, “We don’t have time for this.” But I found that I could easily work it in and it was essential.
Camera Tech Specs:
Canon C300 EF Mount
Music in videos below supplied by The Music Bed:
Canon 85mm vs Zeiss 85mm: The Rocket Summer- Underrated
Canon 24mm vs Zeiss 21mm: Lights & Motion- Home Part 2
Canon 24mm vs Leica 24mm: Zero Bedroom Apartment- Chillin’
Zeiss 85mm vs Leica 90mm: Tony Anderson-Miami Skyline
Canon 85mm vs Canon Zoom 30-105mm: A.M. Architect-Unspoken
“The Lens Tests”
Take a look at the Zeiss ungraded vs. the Leica ungraded below. You can quickly see that the Leica has more of a yellow warmth to its glass and the Zeiss is cooler in tone. The Leica has a little lower contrast than the Zeiss as well. With the color chart, we were able to match these fairly well.
Moving onto matching zooms, I found that the Canon CP primes were more neutral in tone than the lightweight Canon 30-105mm zoom. The zoom with its additional optics takes on a little softer feel and a more yellow/red tone. I loved this zoom’s quality on the skin, perfect tone and creaminess. Check out the ungraded 85mm Canon CP vs. the Lightweight 30-105mm Canon Zoom.
“Inside My World”
This is a glimpse into how I roll out on set and the necessary tools that give the colorist a head start into your creation. Get out there and change your camera etiquette to help build that brick and mortar foundation of color correction. Thirty seconds could save you hours in color correction.