Similar to setting up proper gain structure when using a PA system the same is true for video. It sounds to me like you have no objective standard when judging the camera signal. You are instead using “how the projection looks,” or “how the TV looks,” “or how the computer recording looks” all which are subjective and (at least for the moment) are not set-up the same.
In addition to what I point out above the fact that the colors are lost and things generally look muted makes me wonder if the projector may not be cranked too high (the equivalent of going to “11” on a PA). When projectors are pushed too hard they tend to lose contrast and chroma (color).
THIS IS NOT (necessarily) A LIGHTING ISSUE.
When setting up video gain structure it’s important to have an objective standard. This is typically a waveform monitor & vectorscope. The signal is then tested at each point in it’s journey:
- At the back of the camera
- At the end of the camera cable before the switcher or distribution
- At the output of the switcher
- At the TV (or modulator)
- At the computer input card
- At the end of the projector cable
The amplitude (strength) of the video signal in luminance (brightness) and chrominance (color) at each point should be identical. Once that is accomplished the projector itself, TV itself, computer itself can be tweaked as needed.
If on the other hand (you do not follow the instructions above) and you adjust the camera so it looks good (only) on the Projector it will likely be bad elsewhere. So on. So forth.
If you do not have access to a waveform monitor & vectorscope and/or do not have the expertise to use one you can accomplish a similar result by borrowing, renting, stealing a video monitor which has been properly calibrated and move it around and feed it all the signals above where the waveform monitor & vectorscope are described.
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