John Sharaf
Forum Replies Created
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Hi Lincoln,
From reading the entire thread, it does not look like you really received any satisfactory answer or strategy.
Let me see if I can help?
You were correct to shoot in the highest PR codec and the Log C. This gives you the greatest control in post color correction; it also requires that you “process” your dailies if you want to look at something other than the washed out Log C look. Mind you, you do not have to do that, you can edit in Log C and then color correct as if you’re doing an on-line at the end.
There are several ways to process the master into editorial. One of the simplest is to use Nick Shaw’s Color Plug-in which he sells foe about $35. Contact him at nick@antlerpost.com. For less money, but more time and learning curve, you can use a free download of Blackmagic’s DiVinci Resolve (this is what your DIT was eluding to).
It has amongst it’s presets a Log C to 709 color conversion, which is essentially what you were probably looking at when shooting if you applied the internal 709 look to the monitoring outputs of the camera.
The same Resolve software is fully capable of doing the final color correction, although you might want to invite your DIT friend back to assist. In time, if you use the DiVinci Tutorials and practice with the software you’ll be able to do both standard and creative color correction yourself for the dual purposes of making dailies and final color.
Good luck,
John Sharaf
Cinematohgrapher
Alexa Studio, 4×3 Plus and EV Owner/Operator
Pacific Palisades, Ca. -
John,
Although the flicker might be too rhythmic for your taste, you could adjust the shutter to introduce flicker; perhaps if your camera has the capability to dynamically adjust the shutter speed while rolling you could make a creative effect.
JS
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Hi Phillipp.
I’m having the same problem with F3 and KiProMini after KiPro upgrade, so I think it’s fair to say it’s a KiPro issue. I have not yet queried AJA support, but they are usually very good; so I recommend calling them. I will be dooing so soon myself!
JS
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HI Bob,
I don’t have Divas, I use conventional tube KF 2Banks and 4 Banks in 2′ and 4′ sizes. This way I’m assured all the lights are the same color. I know that the Diva’s are very convenient because of the built-in ballasts and dimmers, and that whatever color shift can easily be white balanced out.
Recently I purchased two PRG TruColor HS LED lights which are the same size (12×24″) and are very bright, high CRI, dimmable from 20-100% with now color shift and both daylight and tungsten. I use them as I would a Diva and really appreciate the dimming feature vis a vis the tube KF’s.
Putting gel on the Divas aggravates the heat issue so it’s not a real good solution’ watching the color carefully and repeat white balancing is the best cure.
JS
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Ok Terry,
You’re on your way now. Before you’re done, you’ll own a truck full of lights and know what each and every one of them is used for!
Cheers,
JS
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Yes, a lighting vendor would be a company that could do everything, including providing the units, crew, install, trucking, etc. to as little as just renting you the lights you need.
I’m in Los Angeles, and could do the job if you wee here, but considering your proximity ti NYC, there’s many vendors there that could accommodate you, not the least of which is PRG which is a gigantic lighting company with offices all over the world. I often also use Mandy.com to find local crews and facilities in remote locations like yours, and it’s often useful to find and build those types of relationships especially as you’re there too.
I used to light the Rose Bowl Parade for Good Morning America in Pasadena every year, until they decided it was too much money for the limited use, as it only showed live in the East Coast, because by air time the parade was beginning in the West Coast, and it was always a challenge and fun to light the big colorful floats, not to mention the Rose Queen herself!
JS
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HI Larry,
Where are you at? Presumably you’d want a vendor nearby!
JS
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Temitope,
I had exactly the same reaction as Dennis when I saw your title line; you don’t light a room (unless it’s for a real estate advert or architectural magazine) you light the people “in the room”.
I also agree with Dennis (great minds think alike!) that the PAR could make an excellent key light; two old-school techniques are either through a hanging “shower curtain” or dangling roll of heavy white diffusion like Lee 216, or even bounced off a 4×4 foamcore. Then use the Kinos for backlight and fill (if necessary).
JS
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Turn shutter off
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Hi Dennis,
Leave it to you to have all the latest toys and in quantity too!
Yes, I have had the opportunity to try those Litepanel Helios; there were a few on Stage 7 at Sony Studios in Culver City where they teach the F65 class, and I used them to fine effect in the practical lighting portion of the class.
The thing about the TrueColor HS is that these units have among all the LED’s the highest and best CRI (Color Reproduction Index) so skin tone is rendered as good as tungsten and better than HMI. I think this makes them superior to the Divas which have a tendency to go green when they heat up.
In addition, this color is likely to remain consistent over time because the correction is not on the LED’s themselves where the heat will affect longevity , but instead on “transfer panels” located away from the LED arrays.
This is the first of all the LED’s I’ve tried that does not require green correction (granted that there are many different brands and models that I have yet to try), but I’m very high on these PRG lights and you are correct that the “quality of light is superior” too; it is very soft and wide even without a light bank or diffusion panel, even though I understand that Chimera has one in the works.
Now that cameras are nominally 800ISO and have dynamic range of 14 stops (in Log mode) and post color correction is more and more becoming the norm, lighting is not required in the gross amounts as before, and subtlety becomes more of the aesthetic where factors such as the quality of the light and accurate color rendition can be the distinguishing characteristics.
Not to mention the new OLED monitors which are quickly becoming the new standard in viewing (at least on set). All these things together challenge the modern DP/LD to outdo themselves everyday!
Cheers,
JS