Editing Film Material!

[Walter Biscardi]

[Alieninnovation] “Here is my question through the complete film the Color & Brightness changes.

Is there some kinda of Filter to keep this one tone??
How do the Filmmakers do it?”

High end color correction tools like the daVinci. On the Mac you can now get Final Touch HD and Final Touch 2K which offers the same color correction as you’re used to seeing in feature films. I run Final Touch HD here and it is outstanding.

Walter Biscardi, Jr.
https://www.biscardicreative.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Misha Aranyshev]

[Alieninnovation] “Also I’m not sure what they where thinking but its a 16×9 footage in 4×3 format!?”

“They”, the transfer house, were thinking the cut is going back to film.

[Mike Most — account bouncing, bad address]

>>”They”, the transfer house, were thinking the cut is going back to film.

No, “they,” the transfer house, were undoubtedly doing what they were asked to do. Video facilities don’t make up their own specifications on film to tape transfers. Instructions are given by production, either by a producer, a post producer, a post supervisor, an editor, an assistant editor, or whomever is assigned the responsibility of running post. The facility follows that specification, whatever it is. If one wants to know why it was transferred the way it was, they should ask the person who ordered the transfer.

[Blub06]

If you are talking about film to film color correction, it is called timing, as in now that we have cut the negative we have to time the film. Or, the DP wants to be in on the timing. The timing is done by a primitive machine that changes colors as well as brightness through the use of filters. Feature length films are more then one reel so there is some latitude in just how color and brightness is handled over the length of a movie. Everyone tries to hit it spot on but there are so many variables, was it shot consistently, what film stock will it be released on etc, you do what you can.

That

[Mike Most — account bouncing, bad address]

>>As I have said 99% of all films DO NOT go through a DI process.

Among pictures actually getting released, the figure is more like 50%. Perhaps less.

Like it or not, DI has become a very valued tool in the eyes of most cameramen, just as sophisticated telecine color correctors became for commercial and television work over the last 20+ years. It is not “super expensive” when all of the alternatives it offers are considered. If you’re shooting on 35mm and contact printing your IP, yes, that is quite economical. But going the DI route offers many more production alternatives – 3 perf, S16, S35 for anamorphic release, even mixed formats – that are just not practical in the purely photochemical, contact printing world. You also get your video deliverables directly from the digital files, saving the $20000 or so that it would cost you to master from an IP. That mitigates the cost somewhat, but the primary attraction for cameramen is the control, and you can’t really put a price tag on that.

One needs to sometimes let go of their comfort zone in order to experience what is currently being offered. It’s not all bad.

[Blub06]

Not too many Directors of Photography or Cinematographers would appreciate being called cameramen.

I would be surprised if your percentage of films going through the DI process was any where near 50%. I guess I can offer a qualifier, the question was about color correction, I assumed the question referred to such work on an entire film, not bits and pieces.

I do sense that DI is rampant across the feature film world but only for one shot here one sequence there. In other words, yes DI is now a real part of the post process but not for the entire film like Oh Brother Where Art Thou. To do an entire film is a through the roof expenditure, this is what I am talking about.

The typical shooting regimen is to do tests to get a look you like and then shot that. It is not typical that an entirely different or new visual layer be added after shooting. Why not shot everything in video and add the look later? DPs have as much pride as editors and they don