monitoring type - color correcting

ok, i just icked up my cool new dsr1500 and im having some color/monitoring issues...

before, i was monitoring out via firewire to my canon xl2 camera and out if its s-video to the s-video in on my sony pvm broadcast monitor.

NOW, im monitoring via firewire to the dsr1500, them out of its RYB into the RYB in of my sony pvm.

here is my dilema: ALL my color correction work is now crazy-ass saturated. is this just a simple difference of monitoring s-vid to monitoring RYB? or is there some setting in the dsr1500 that im just not aware of?

What happens if you put up a set of colour bars? Recalibrate your monitor for the bars and check with your scopes. Does it still look stupidly wrong?

Broadcast monitors sometimes need to be professionally re set - I work on a Sony and it needs re setting - there is adjusting that goes beyond the monitors menu system so if this persists seek advice from the suplier or a camera hire company.

They're usually not that far off when you switch between component and NTSC, but I guess they could be.

Yes, put colorbars on the timeline from the effects tab. Bars will tell you where three of the four major display knobs should be.

Put the contrast control in the clicky middle position.

Adjust the brightness control in normal operating room lighting until you can see only one of the three dark gray bars in the lower right. You're not allowed to change the room lighting after this--or you need to adjust it to the new lighting.

Touch the blue or blue-only button on the front of the PVM. You should see eight either blue or gray blocks on the screen (Ignore the extreme bottom row).

All eight blocks should match. Adjust Phase for the middle four and Saturation or Chroma for the outer four. They affect each other so jog back and forth. Touch the blue button again. Edit.

Some PVMs have a User Setup which prevents you from setting these knobs. That can be turned off in the menu settings.

You can also have a PVM with no blue button on the front. That was Sony's way of printing "Professional" on the front of a consumer monitor. In general, these monitors are not to be trusted for color decisions.

Koz

SMPTE Colorbars are created with exactly the same amount of blue in all eight of those blocks. Cyan is green plus blue. Magenta is red plus blue, etc. Only when the monitor is running exactly correctly does it pull the same amount of blue out that the computer put in.

If it messes up the Phase (purple/green people) the middle four blocks fall out of alignment. If the saturation is off, the outside four blocks fail to match.

You can get exactly the same effect by watching bars on a professional monitor through a Kodak Wratten #98 blue filter. Kodak calls this one of the three color separation filters. Only blue goes through.

Of course, the screen will be blue instead of gray, but the effect is exactly the same. Sony made it gray to be a little easier on the eyes.

Koz