Color Modifications User Matrix
Color Modifications User Matrix
One of the most interesting digital tools for the cinematographer is the one that let’s you modify how the
camera sees color through the matrix menus. Once the image’s visual aspect is designed, the tool allows you to
precisely adjust the camera to meet your planning together with post-production. It must be pointed out here
that there are many post-production tools for correcting the image, and this is done on the image through the
camera. Thus, the image has to be the best possible as far as detail, resolution, noise and color are concerned.
That is why any in-camera color modification gives a first approximation to the final result without adding
“artifacts” due to compression as said modifications are done before filming. In this case, I’ve used the F900/3
camera to manually show how you can modify color using two menus: the user matrix and the Multimatrix. The
first one modifies RGB color in relation to others, while the second one modifies a specific color. In the next
issue I will study the use of the Multimatrix and in this issue, I’ll examine the User Matrix.
MenúUserMatrixenlaF900/3
In order to modify the colors, you have to use a vectorscope and I also recommend using a Macbeth chart and
an HD monitor with enough quality to see the differences. I usually prepare the modifications according to the
type of image I want to build. I first establish the color bases in the User matrix, which I later fine-tune with the
Multimatrix.
The picture below shows a Macbeth chart with its values in the vectorscope.
Be careful when changing the color in the camera; with patience and practice, you can get very good results.
Modifications in R:
RG 99: especially affects green, cyan and red somewhat. The RG +99. The red is slightly more saturated, like the green
green is less saturated and moves towards the yellow. The and magenta, which is slightly redder. The rest of the tones
cyan moves towards a less saturated green. The red is remain standard.
slightly less saturated and somewhat warmer. The blue and
the magenta are slightly less saturated.
RB –99 RB +99
Standard Standard
Modified Modified
RB 99. Blue is the most affected color, turning purple, while RB +99: The red is very slightly saturated and the yellow is
the yellow turns slightly greener. The red is somewhat less somewhat more orange. The rest of the colors are not
saturated. affected.
RG RB –99 RG RB +99
Standard Standard
Modified
Modified
RG RB 99. The blue and the magenta turn purple. The very RG RB +99. The red is slightly more saturated; the magenta
desaturated red looks like dark blood. The yellow is very somewhat redder and more saturated. The yellow is more
green. The cyan has disappeared. orange and the green somewhat more saturated. The blue
and the cyan remain as standard values.
GR –99 GR +99
Standard Standard
Modified Modified
GR 99. The green and the magenta become desaturated, GR +99. The green and the magenta become saturated,
while the latter becomes a pale pink. The red turns into especially the magenta. The rest of the colors are practically
orange and the cyan becomes bluer. unaltered.
GB +99
GB –99
Standard
Standard
Modified
Modified
GB 99. The green and the magenta desaturate. The blue GB +99. The green and the magenta desaturate slightly. The
desaturates and approaches cyan. The yellow turns orange. yellow is slightly greener and the blue remains standard. The
The red and the cyan are not altered. red, blue and the cyan are not modified.
GR GB 99 GR GB +99
Standard Standard
Modified Modified
GR GB 99. The green and the magenta desaturate to the GR GB +99. Slightly saturates the green and the magenta.
point where the magenta almost disappears. The red The rest of the colors are barely modified.
becomes orange and the yellow turns somewhat redder. The
cyan turns bluer and this in turn becomes more cyan.
BR –99 BR +99
Standard Standard
Modified Modified
BR 99. The red turns into magenta, while the magenta BR +99. The blue is slightly saturated. The magenta goes to
becomes slightly colder. The yellow greatly desaturates; the red and the green is somewhat more saturated and bluer.
blue desaturates less. The cyan turns more turquoise,
towards green.
BG –99
BG +99 Standard
Standard
Modified Modified
BG 99. The magenta becomes redder. The yellow loses a lot BG +99. The blue, green and the magenta saturate, leaving
of saturation and the green becomes turquoise, close to cyan. the magenta somewhat less red compared to the standard.
The blue slightly desaturates. The red and the cyan remain The green is somewhat more yellow. The red, yellow and
standard. cyan are not altered.
BR BG –99 BR BG +99
Modified
BR BG 99. The red and green are heavily modified. The red BR BG +99. The blue and the green saturate. The latter is
becomes magenta and the green cyan. The cyan becomes slightly more yellow. The rest of the colors remain practically
turquoise and the magenta somewhat colder. The blue the same as the standard.
desaturates almost completely and the yellow disappears.
USER MATRIX Average
Film The table on the left shows the User matrix’s proposed modifications to
Matrix table: A imitate photographic emulsions. Although there are many more elements
Matrix RG: 66 that intervene in the simulation process, I want to use the table as an
Matrix RB: 25 example and starting point in color changes. Notice how the majority of
the values are negative; therefore, in general, the colors will be less
Matrix GR: 6
saturated than normal ones in video.
Matrix GB: 46
Matrix BR: 14
Matrix BG: 3
In sum, the aim is to achieve a balance between the different values to obtain the desired color. As a result of
applying this table, the original camera image is desaturated with slightly purple blues and cyans somewhat
turquoise and a general magenta/pink deviation to be corrected in post-production. Once graded, the images
give a very natural appearance. It is true, however, that I later make specific modifications in the multimatrix
for some colors; for example, I saturate the cyan somewhat and desaturate the red. In general, you can work
with the matrix until you achieve the adequate colorimetry.
The image on the left shows the color palette used in the movie Plauto,
created to simulate some of the Technicolor colors and tones used by the
painter George Grosz. Below are some modified images.
Chart photographed with color standard ITU709 in the Sony F900/3 camera
First camera modifications with the User Matrix. From this color base we modified the saturation
and some color tones in the Multimatrix and then finished it in Post-production.
References:
www.alfonsoparra.com
Digital Cinematography, by Paul Wheeler. Ed. Focal Press
High Definition and 24P cinematography, by Paul Wheeler. Ed. Focal Press
www.cinematography.net/