SMPTE OneShot™ Pocket chart
The DSC Labs OneShot chart is designed to capture as much camera and scene lighting information in one shot as possible so that dailies look as close to the DP's intent as possible. Matte Finish - unlike most other DSC Labs charts, the OneShot is printed with a matte surface to reduce obvious reflections. A matte chart will still show some glare if held at an improper angle to a light, and the contrast range of the chart is not as high, but it is overall much faster to shoot accurately in a high pressure and timesensitive shooting environment.
The DSC Labs OneShot Plus chart is printed with a “AcuFlect” wide dynamic range, washable gloss surface, which eliminates unreliable matte chart flare. Film-style production schedules don't generally allow much time to set up and shoot a glossy chart eliminating reflections, but matte surface can be too delicate for field production.
It's impossible to create a matte front-lit chart that captures the full dynamic range of a modern camera, so we instead focus on giving the colorist a solid white, black and gray reference, so that contrast can be accurately reproduced from scene to scene. OneShot’s AcuFlect black chip provides a similarly high-dynamic range as DSC’s CamAlign products.
The Gray Scale
The top row on one side of the Pocket OneShot chart contains black, gray and white chips. The gray chip is the most important as it is calibrated for 18% reflectance—the same as most spot meters. Placing this gray chip at your preferred middle gray waveform reference point (usually around 40 IRE, but can vary based on taste, camera manufacturer or DP preference), helps to ensure that mid-tones, such as flesh tones, are rendered accurately. DSC’s 90% CamWhite and Acuflect black chips provide optimum white and black balancing.
(An improper black balance can throw off the entire color balance of a scene and result in some very ugly looks.) Additional larger 18% gray and white patches are included on the back of this chart).
The Flesh Tone Row
The first thing a colorist does in a grading session is to look for flesh tone. Improperly rendered flesh tones are more distracting than any other color problem: we innately know what flesh tone looks like, and if it's wrong, nothing else in the scene will appear right. The OneShot's flesh tone row shows the colorist four common flesh tones, all of which fall along the I-Q line on a standard vectorscope.
The Color Rows
The ITU-709 high definition broadcast standard defines three standard primary colors--red, green and blue--out of which are created three standard secondary colors--cyan, magenta and yellow. These hues are reproduced on the OneShot chart and, when properly white balanced in a grading session, these colors should line up with the red, green, blue, cyan, magenta and yellow target boxes on a standard ITU-709 vectorscope.
Protective case and lanyard included.
Please indicate matte (OneShot) or glossy (OneShot Plus) in the drop down below.