Richard Herd
Forum Replies Created
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No problemo.
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[grinner hester] “Zach, take the gig, man.”
Yep!
Baseball season is April to October, right? 7 months for a year? What happens between November and March?
[grinner hester] “Zach, take the gig, man.”
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Over the last 5 years, at least, there’s been a controversy brewing about the DP’s roll in affecting the final look. As editors continue to get more advanced digital grading tools, post production is the place where “the look” is set. In my opinion, that means, for the digital DP, he or she needs to capture as much dynamic range as possible. For me that means nothing–or at least very little–in the frame is black. I find that even when there is enough light in the low levels, I can still shape them in post with amazing precision. From the perspective of “being on set,” this means, it’s a bit sketchy to screen the untimed dailies or playback footage because it doesn’t “look” like it should.
I’m 100% certain that the DP on that video did a fine job of exposing the image so the low light was hot enough so the colorist/editor/timer could move data around. To me, some of the images appear a bit too hot, like at 1:42 compared with 1:40.
If I was shootin it, I’d bring four, maybe five, china lanterns and diffusion, some CTB, and bounce cards, and we’d cruise through the whole thing. It’s about the band getting their image out there. Like Rick said, I’d match and supplement daylight as the shot dictated. My goal would be to give as much information as possible to the post folks so they could apply color grading.
Having said all that: check out this tutorial, because it’s what editors/producers/graders/directors expect the footage to handle: https://library.creativecow.net/articles/maschwitz_stu/red-giant-blockbuster-film-look.php
The fundamental issue appears to be the DP’s vision of the look is being trumped by desktop tools, and the DPs are looked at more and more as either automatons (at worst) or technicians (at best).
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Since you mentioned auto tune. You have got to check out the very clever segments called “auto tune the news” on youtube. Pure genius fun!
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I like a latte at a store like Barnes and Noble, and then I plow through the art books.
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iBiz is perfect! Thanks!
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The American Cinematographer Magazine April 2009 has an article about Crank 2. One big deal is they picture went through a digital intermediate process, so, before we start believing that all things are equal, here’s four quotes to ponder.
{1} “‘I was never trying to make things look pretty,’ says Trost. ‘I was more concerned with getting the right level of contrast for the shot and keep it snappy and electric.'”
{2} “Up-rezzing the Canon’s proprietary 60i/24f (the internal HDV pulldown) for the final transfer to 35mm proved to be a challenge at first.
{3} “CHV was shot much in the manner of a skateboarding video.”
{4} “‘Perfectionism limits video,’ observes Trost. He did, however, test the A1s to determine their latitude, and he knew how to expose for them with a light meter. If he found the need for movie lights, he was able to provide the gaffer, Justin Duval, with the proper f-stop.”
My opinion is simple: the story and the format need to work together.
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This is a weird topic for the lighting forum 🙂
Yep that equipment is expensive.
Yep, you can convert signal to “dual link.” A quick search turned up this: https://www.evertz.com/products/7732DVP-HD but I am not certain this will solve your problem, because the electricity still has to cycle through the electronics, the speed of light is fast, but as you know snapping a photo stops time, so there’s always going to be some kind of refresh and you can always snap a photo between cycles.
Yep, there are 4:4:4 projectors, check out DCI (digital cinema initiative) https://www.dcimovies.com/
Yep, you can pick the white balance of the projector (probably need the remote for that and the manufacturers typically have a series of hidden menus also. You can call them for support.) Often you can also set the white balance on the computer’s video card that’s originating the signal.
Another thing to note: When LCDs are on 24/7 (like the ones I’m using here in Tahoe), over time, they seem to retain a charge that shifts the color into green (since there are double the amount of green pixels compared to red and blue, this makes sense). What’s worse is turning them off to let them charge down often means they don’t come back on because the power board retires to a beach in Cabo.
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You might be interested in something like 4:4:4 video monitors: https://visionaryforces.com/monitors.html
However, you also need the capability to send it that signal. Capture, edit, deliver via HD-CAMSR
https://visionaryforces.com/decks.htmlThe luminance value is in the green.
The human visual spatial system seems to require contrast more than color.
What happens at 1/48 or 1/60? Exposing motion pic is frame rate time shutter angle. So 30 frames per second times a 180degree shutter makes a 1/60 shutter speed. I wonder if that would give the image enough time to “mix the colors,” Or would it be blurry? The video is cycling at very near 1/60.
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Can you speak to 10 bit log?