Chris Pepperman
Forum Replies Created
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The problem I run into is that 90% of what I color correct on a weekly basis is for TV programing. We shoot anything from RED,5D, assorted P-2 cameras as well as Go Pro. Because we are so restricted with time …everything goes thru the Episode to conform to house standard which is 720 59.94. Once our shows are edited in FCP we spit out a Pro Res QT-LT which gets scene detected,color corrected and rendered out with the same codec. When we work on shows that are NOT time sensitive we then transcode thru Da Vinci making Pro Res QT-LT for the edit. We then open the XML and re-link to Native files for color correct. A total mixed bag but a neccissary comprimise.
Chris Pep
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I will say that Last week I color corrected a bunch of spots for Sheetz convinience stores. Chase Bowman was the DP and he shot everything with his EPIC in 5k. We transcoded the footage to Pro Res QT- LT. Once the spots were edited we re-linked thru an XML and color corrected from RAW. There is nothing like color correcting in 5k. I work with the Reslove and we were able to color correct and play back in real time at half res. This way the agency could watch the spot at real time. AWESOME STUFF.
Chris Pep
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Alex, I would love to say you should always color grade from the native file however in the real world you won’t have that option. My week typically consists of grading RED,5D,P-2, Epic,Film and lots of upconverted SD footage. Honestly, you will end up working all over the place.
Chris Pep
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Amen Sascha!! Said like a true professional!
Chris Pep
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Looking for someone who works with Color using the Tangent CP-200 panels. Just starting to work with it and I am looking for operational assistance.
Regards,
Chris PepChris Pep