Blub06
Forum Replies Created
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I am not sure if I understand what you are talking about, I have never used or found something in FCP that is called a software up convert. I think there is a nomenclature clash here.
For my taste, if I understand your point, I prefer to redig the DV if it is going to need to be 10bit. This might sound crazy but I like to put a TBC between the deck and the card and tweak things (using a scope, of course). I am not doing what might be called color correction but I am modulating the luminance and tweaking colors so that the master 10 bit is as fancydancy as it can be before going to color correction.
It works for me…..
Chris
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To me it looks for all the world like a generational thing. As in, changing something on top or below and rendering using the previous render. I don
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I like using the 4 point garbage matte and the 8 pint for this stuff. The advantage of this filter is that it allows for a fully customized grad. I like custom arcs with one side more then the other, the garbage mattes get you there real nice like.
Chris
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In the end you are talking about a motion control thingy. I love the look you are talking about, its fine to have a locked down time-lapse sequence but panning tilting and even zooming adds an amazing quality to it all.
There must be some kind of cheapo motion control thing. If not, there would be a real market for such a thing.
While motion control rigs are big, heavy and expensive, if you give up the high tolerances of such rigs (which is one reason they are so heavy) and create a rig which is small and portable its easy to imagine a great demand for such a thing.
Chris
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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
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I thought he died….
I am glad that has not stopped his growing involvement in the Cow.
Chris
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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
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“Where’s the freaking link to the whitepaper?”
LOLOLOLOLOLOLOLOLOLOLOLOL
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Wow, thanks for that, I have had the issue and always let things solve themselves by restarting things. this is something I will keep an eye out for.
Thanks again!
Chris
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I don’t know if this thing has shipped yet. I look to the places that the compnay recomends I buy this thing and they are not in stock.
Looks good though.
Chris