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Saikat Chattopadhyay

Basic Member
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    5
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About Saikat Chattopadhyay

  • Rank
    New
  • Birthday 11/13/1993

Profile Information

  • Occupation
    Cinematographer
  • Location
    India
  1. Pardon me if I sound like a technically challanged person. What I know ,when I underexpose digital sensor I will raise the noise floor while trying to lift the shadows. So I wanna ask: Was it intentional to raise the noise to add grain to images ?(sample images look amazing needless to say and it really match film response) However, I came across other ways to match film response, either mapping grain to different luminance range or using plug ins like Film Convert or may be using Nuke (I have no idea but Steve Yedlin showed some examples) Do these processes really work for theatrical releases? I did test and it looked good on my consumer level monitor ,not sure about theatre screens. Also Juan Melara have some good blogs regarding this which I don’t understand completely. https://juanmelara.com.au/
  2. I am not sure about my answer ,correct me please if I am wrong . In any NLE (Non Linear Editing Software),shutter speed/angle or the FPS doesn't change when you change the clip speed it will just duplicate frames (when slowing down) or blend/drop frames (when speeding up). FPS will only change when you change it manually (by re-interpreting the clip in media bin) and in that case it will adjust the duration of the clip automatically. However, if you place a high frame rate file onto a low frame rate timeline then the software will use something like "frame blending" to keep most of the data . N.B : I have only worked on Premier,Ae and Resolve and never worked on any film-scanned footage.
  3. Hi, I am posting here for the first time, so little bit nervous. The topic might not be properly linked to aesthetics or techniques of Cinematography . Kindly let me know if this is not suitable subject (or has been discussed before). I was trying to dive into the term ‘ISO Invariance’ and I came across some videos and articles (linked below) which confused me even more. My understanding(might be incorrect) is that the voltage at pixel level ,when the photosite gets exposed to light, is very low and the Analog value is amplified by some factors then sent to the ADC,followed by De-Bayering, Chroma Subsampling etc. The gain of the voltage here should be linked to ISO we set and the factor will differ as we play around. Now for the RAW data we do have control in post to change the ISO , which implies that ISO is not a deciding factor like Color Temperature and not mapped on the footage.However, in the videos and articles I see that the tests are showing Photographic Cameras are not totally ISO invariant and they are introducing noise when set to higher ISO. Unfortunately I don’t own a high end Cinema Camera to test this and didn’t find anything related , so my question is : are cinema cameras really ISO invariant? If yes, should we care about setting up proper ISO on set ? If no, what’s the point of having an external control in post to modify it? https://photographylife.com/iso-invariance-explained Thanks in advance. 😃
  4. I believe Lukasz Zal has done an amazing job with his two films Ida(2013) and Cold War(2018). Composition and lighting both look very promising , with a unique style of keeping “larger head room”. Had he been discussed in this forum before?pardon me as I am very new.
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