Dmitry Savinov_38080

Otherworldly, which profile should I choose for calibrating? Sorry for my unconsciousness but I will do that for the first time)))

Well,got it) And "uncheck apple color" means what? You cannot uncheck every setting,you have to select at least the first default "iMac"

Thanx a lot,Bruce! So the point is-I make a new color profile in the "calibrate monitor" manu,ajust gamma to 2.2 (The monitor has it already as a standart ajustment)and brightness to 80,using a color checker in a way,then I use the current profile while grading and tell the DCP guys my color space,gamma and brightness and that is it?

Hi everyone! Just started prep for a S16 b/w film (I think it will be ORWO 54/UN 74) For "no-budget" reasons it will be one light telecine for editing and than Arriscan 2k for selected takes. Thinking of grading with DaVinci Resolve on my iMac Retina at home for the same budget reasons,than DCP mastering somewhere outsource. Because of b/w the approach seems to have no problem in difference between monitor's REC 709 and DCI P3 color space of cinema projectors,but still have no idea of how the contrast and brightness will match. If anybody has a similar experience could you please share your thoughts about it? Thanx a lot

Yeah,I DO understand every of your points clearly ,David,but my point is:to nominate 12 times and not to award 12 times is a very strange thing (for me personally) Kind of Leo case...)

I'm not convinced,anyway) Just for a case,The Assassination...is obviously a CINEMATOGRAPHER'S outstanding masterpiece,storytelling through shots,shots make tension,compositions describe relationship between characters even if they don't talk to each other at all...the light is the one of main talents..whatever! You don't need to be a DoP to get it,you just have to be a film professional,an actor or a sound engineer,doesn't matter!

Hi everyone, does anybody have an idea why twelve-times-nominated Roger Deakins stil hasn't got an Oscar? Very strange situation

I prefer to rate at preset speed 800 for Alexa,even bright exteriors,to achieve plus or minus all the highlights and shadows,if you change your speed,you loose in one or other. When shooting Red (rarely,to be honest),I also use the preset speed,remembering,that its 800 is 320 in general)))

I've got 3 different 35 mm cameras with M42 mount and medium format automatic Fujifilm GA645 Professional for travels and Mamiya RB 67 Pro SD for more thoughtful applications I use film cameras because I am a big fan of film itself and consider it more "human" and warm than digital process As for job I use cheap 60D and cheap 18-200 zoom and I use it only when scouting,not for my own artistic purposes I am not sure someone certainly needs to own equipment for filming 'cause almost every task needs its own approach in terms of equipment and it is impossible to buy everything for every case))))

The point is that photochemical process had a bit different print film stocks in terms of contrast (and of DR as result)...) Thanx everybody,now I am completely convinced in Rec.709 monitoring with switching sometimes to LogC to be sure with selected exposure,as I do usually on TV jobs

Thanks a lot David for very useful info! Anyway they told me I would be able to check my daily footage via Barco 2K on screen in native ARRIRAW with my LUTs embodied anytime there could be any doubt so it will be the best way to double-check my exposure

I hope the production is able to rent a state-of-art on-set monitor which applies LUTs and even works in DCI P3 space I understand that Rec709 is much "tighter" than pure 12bit RAW and proper exposure in 709 color space made by eye and FalseColor should work for DCI for sure but would I loose some lattitude at the same time? And there could be some extreme lighting situation and I would not use the complete Alexa's dynamic range watching Rec709 image that does not represent it?

Hi everyone! I am going to shoot my first non-film whidescreen theatrical film using ALEXA XT and ARRIRAW I am familiar with ARRIRAW quite enough 'cause I used to shoot a lot of TV spots with it and always used REC709 output for monitoring and False Color instrument to check exposure 'cause the final target was always TV Rec709 or similar gamma and ARRIRAW was an instrument to achieve cleaner and "over-resolutionized" image for better VFX workflow and so on Now it is a completely different story,I will apply kind of look for on-set monitoring but there is no assurance that it should be exactly the same image that we will approve finally in post in terms of contrast,gamma etc Can I still use False Color as my main exposure meter in this case or it will be better to use that old good friend as my Sekonic Multimeter is and to treat ARRIRAW as a 800 ASA film stock? Thanx for your answer in advance

Yes that was my question-do I have to use both 2.39 and 1.78 anamorphic framelines and than desqeeze and tape my monitirs fo 1.78 or I have to somehow make 1.78 framelines AFTER desqueeze?

It still looks much more better than 35 mm print of optical blown-up 16mm negative))))))

Right now I've two shots reframed,graded and output at ProRes4444 1080p One of shots is 2K ProRes4444,other one is ARRIRAW,both shot anamorphic with Alexa and Hawk 45-90 ProRes clip shows much more of "pixel granity" and a bit more loss of sharpness than the Raw one but still it is suitable for network applications Resuming that I will do my best to convince the production to use ARRIRAW to have some extra quality but if not,it will not be a complete disaster))) Still looking for advices of the way to fast and easy framing while shooting...

I will do test in both formats anyway,that is for sure) My next point is how to organize proper framing on set Any ideas?)

Just qiut watching an episode of BBC's Outcasts shot with the same "crop crap" It was shot nativlely anamorphic with Kowa/D21 and cropped to 16:9 later Looks amazing even being cropped! Flares,shallow depth,bokeh and all that stuff saved despite of the crop so I think that is my choice(replacing D21 to Alexa XT 4:3 mode of course))) So the point is to test ProRes vs RAW and to solve framing problems One more question to all the community: What would be the framing workflow?select anamorphic 2.39 frameline and anamorphic 1.78 frameline and than desqeeze and tape all the area outside 16:9 on my monitors?am I right?

Thanks a lot,I will test 2K ProRes for sure but I am sure it will not fit because of compression impact I wonder which way they had walked shooting american version of The Bridge TV series?

Not exactly what I asked indeed) I do not want to simulate anamorphic look,I want to shoot true anamorphic for its shallow depth,flares etc,not spherical,the problem is that TV studio wants 16:9 without top and bottom black bars Any other ideas?)

UPD Lenses with x1.3 are not available in our country,x2 only...

Hi everyone! I'm starting a prep for a TV series thriller and I decided to shoot anamorphic Creative producer is absolutely agreed with my decision and everybody liked the idea but general producer tells that he is not able to convince the TV company to leave aspect ratio as it is (2.39:1 at 16:9 TV aspect so it will have black bars at top and bottom) So we are disscussing now framing at "2.39 safe for 16:9" and zooming it during post for about 40 % to fit 16:9 without black bars (such a pity!!!).We are going to use Alexa XT so ProRes 2K will not fit the task for its resolution and compression and we will do it with ARRIRAW but producers actually don't like the idea of RAW for it is more than 10 Gb/min and they would have much more storage and delivering problems than using ProRes Does anybody have another experience with the same problem-putting 2.39 into 16:9 aspect without disgusting pan and scan,zooming etc? Or if it is not possible,how could we get it at minimum negative impact to image quality? Thanx a lot)