-
Film Workflow
What is a typical film workflow using Resolve? I have successfully finished a film on a DP90 Barco recently in P3. It looked great in the theater on the DCP.
Now I have a client who has shot RED and film. I plan on converting all the RED footage to RedLog and getting log scans of the film. He has some archival print material too. Is it best to scan the print as linear instead of using log?
I plan to grade the film in P3 as I did with the Alexa film. But if this project does go back to film I’m assuming we should do a separate grade for the film out?
I’m guessing we will need to profile our projector and get a profile for a film recorder and create a LUT to grade the project through?
Thanks
-
5 Replies
-
The print you should scan as linear, most film scanners will by default scan positives as linear.
And you just need a print emulation LUT for grading for film out, talk to the lab with the film recorder you intend to use they should be able to provide you with a “closed loop” LUT for the recorder, the stock(s) (both intermediate and print) and the lab process all in one which has been generated by calibrating the whole output chain.
-Rob-
Robert Houllahan
Director / Colorist
Cinelab Inc.
http://www.cinelab.comMAHC-PRO 6-Core 2X GTX580 20Tb SAS Wave Panel Panny 11UK SDI Plasma. Light-Space CMS + Hubble
-
Right now there is no intention to go back to film but my client did mention it could be a possibility down the road as this is a foreign film and film distribution is a possible option. So no vendor has been chosen to do a film out.
My plan was to grade in P3 as I did with the last film I worked on. Is there any advantage finding a vendor now and creating a LUT or is it fine to work in P3 for the DCP output? Then if they get distribution create a film emulation LUT that I can use to do another pass of the P3 project?
I’m also now being told the archival film is an inter-positive and not a print. Is linear still the way to go with the inter-positive? Log is supposed to be used for negative film?
Thanks again.
-
If your primary delivery is digital, just grade in P3, it’s way easier and looks better. You can always make a reverse LUT for 35mm later if you really need it, and that’ll get you 95% of the way to a decent 35mm output with no hassle. You might want to do a quick CC pass to fix smaller details, but you’ll be quite close.
Also, if you know your projector is actually calibrated correctly for P3 (this can be a pretty big if), you don’t need to profile the projector, strictly speaking, you can just make the film emulation LUT to P3.
For the positive, scan log or lin, if it’s actually a positive it won’t matter too much, prints don’t have much range. If it’s an interpositive, I would maybe scan log if your scan provider can do it. If you can scan log, in general, do it, you’ll be sure to get everything you need.
—
Joakim Ziegler – Postproduction Supervisor -
Great. Thanks for the advice guys.
-
[Eugene Lehnert] “Right now there is no intention to go back to film but my client did mention it could be a possibility down the road as this is a foreign film and film distribution is a possible option.”
Better hurry. The world is running out of manufacturers.
jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
Reply to this Discussion! Login or Sign Up