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movie on Netflix left in LOG
Started watching an independent movie on Netflix streaming last night that was shot in LOG and has not been transformed correctly. It’s called “Starlet” if anyone is interested in checking it out. Looks to me like they did do some kind of a grade because I think the black point has generally been set ok but the midtones mostly have that flat, lifted, desaturated look of untreated log.
Surprising to see a film get that far and look like that….
AS
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5 Replies
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[andrew sableton] “Surprising to see a film get that far and look like that….”
Were that only the case, but that “flat” log look has become a style.
Not knowing the post path, there is also a low probability that what you are seeing on Netflix could also simply be a “push the button” conversion done by one of the distributor’s nephews on his laptop. (Gender-specificity intentional.) It might have been a master version that was intended for another LUT-facilitated DCP output. Who knows?
I’m curious to double-click on it, but also apprehensive about what else the service is going to start recommending for me…
Also, don’t you have a “deep-gamma” log-lin setup for your home receiver?
(Don Lafontaine voice over):
“In a World Gone Mad…..”
“Someday all films will be made this way…”jPo
“I always pass on free advice — its never of any use to me” Oscar Wilde.
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Yes……hard to know where the “error” occurred…. it appears to be a pretty low budget indie film….. I suspect that the makers got used to the log look in the edit and then became convinced that was how their film should look….I’ve seen this phenomenon with inexperienced and / or dumb flimakers I’ve worked with on a couple of projects….
Certainly I found the film very hard to watch looking like that…….
AS
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You joke about the log-vid setup. But I once found myself watching a program I knew to be flat on my set at home, and was surprised that the image looked surprisingly normal. I thought maybe the producers had decided to change direction. And then I checked my sets settings and found they’d gotten a bit reset, and a dynamic contrast function had been enabled. 🙁
https://JuanSalvo.com
https://theColourSpace.com -
[andrew sableton] “I suspect that the makers got used to the log look in the edit and then became convinced that was how their film should look….”
You’d be surprised how often this happens nowadays. A real danger of dailies is that the director, editor, and producer get caught up into this look and become convinced that this is how their project must look over time. I think the permeation of the “raw look” in commercials has happened because people are running out of unique looks to distinguish what they do from everything else on the air. -
I would say 10% of the advertising I see on TV is defiantly in the wrong color space.
With more and more people having access to video tools and digital broadcast, the quality dropped significantly.
I see a lot of mixed stuff too, where it clearly shows the production shot on video level and the poor AfterFX guy just slapped his super black graphics on…in RGB.When we were still working with LOG scans, 50% of the DPX files had been flagged as LIN 🙂
I actually graded one myself, unaware I had to compensate for it, and it turned out great…hehe.
But when “grading” is done in AVID or FCP using some plugs, all hell breaks lose.A slice of color…
Resolve 10.0.0.073 , Smoke 2013 EXT
Colorist / VFX / Aerial footage nerd
https://vimeo.com/saschahaber
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