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Post Production techniques


Jon Tubb

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Would using post production edit suites and computer effects be classed as 'good cinematography'?

 

I can't see how it can be because isn't it cheating slightly?

 

I know that some visual images can only be done with computer effects but should 'good lighting' and 'digital effects' be put in the same category?

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Good cinematography -- it's sort of like the legal definition of porn: "you know it when you see it." You can usually tell what's good cinematography despite any post work. The rule "garbage in -- garbage out" still applies.

 

Remember than in the 1930's-40's, a lot of cinematography was augmented with matte paintings, process work (rear projection), etc. in order to fake day exterior shooting on soundstages. You look at a truly beautiful film like "Sunrise" or "Jane Eyre" (or even "Citizen Kane") and it's hard to know where the cinematography ends and the special effects begin.

 

It doesn't ultimately matter if the end result is a good image that expresses an artistic vision.

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Thanks for the compliments -- but we've all discussed "Northfork" here many times in the past! I get a little embarrassed at getting too much attention here; it sort of unbalances things if I start talking about myself too much (plus it will bore the regulars here...) But thanks.

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As ever more powerful image manipulation becomes possible in post, the important thing is that the cinematographers not lose control over authorship of the image. Post needs to become a new bunch of tools in your bag, not something that other people do to your work. It used to be just color timing, but not any more.

 

 

 

-- J.S.

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John and Dave are absolutely correct.

 

I want to add that although, post production tools for the dv market are more cost accessible than film(telecine, color timing), it is important not to fall into the trap of "Fix it in post". Why? because you won't unless you are ILM and have twenty to thirty artist re-rendering the scene and doing all sorts of bit manipulation to make it look as it was intended.

 

It is by far more important to capture the image the way that you want it and armed with the knowledge of the tools that you have, knowing how you will enhance it in post. Not I'll Fix it in post. Please don't fall into that trap.

 

Carlos.-

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.... Not I'll Fix it in post. Please don't fall into that trap.

The important thing is to know what you can and can't expect to do in post. It's best to know enough about post that you can make good decisions in pre production. For instance, if you can save an hour of the cast and crew's time on the shoot by spending half a day with two people in post, that could be the more cost effective choice. But it's always a hassle if that choice isn't in the budget. Some things you might expect to be an easy fix turn out to be hard, and vice versa. So seek out the post people during pre production.

 

 

 

-- J.S.

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It's becoming less and less clear about when "post" production begins. It's increasingly an integral part of the whole process of production.

 

If what you now call "cinematography" became generally termed as "image capture" then the term "cinematography" could be rightfully extended through the entire imaging process right up to the final prints or video master.

 

And that makes John's point about retaining control of the image so very important.

 

But if we follow the musical analogy (who said it?) that the negative is the score and the print is the performance, then we have to deal with the fact that the composer isn't also the conductor (usually).

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But if we follow the musical analogy (who said it?) that the negative is the score and the print is the performance, then we have to deal with the fact that the composer isn't also the conductor (usually).

I think that analogy is from a still photographer, Adams or Lange or somebody in that era.

 

If the cinematographer is the composer, the problem is that we don't *have* conductors. If the "composer" isn't there for post, it becomes a jam session.

 

 

 

 

-- J.S.

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I agree John!

As cinematographers we must follow the whole process.

Working with camera houses, set designers, MU artists, wardrobe people, labs, etc. is part of the process as is the telecine and the colourist.

And of course everyone is an "artiste" so diplomacy and psychology are important.

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