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  1. Hey there, I'm unsure where to start, so I'm just going to say it all. I have a feature which was graded in FCPX using both a macbook pro and a calibrated monitor. Because most people initially watching the film were going to do so on their computers, we thought it best to find a middle ground for exposure and color so that it could be played on a computer, television or in a theater. Now that the film has been accepted to play publicly, we've been told that the blu-rays will be authored by an outside company for exhibition. That company mentioned that each film should have been graded on a monitor, calibrated using SMPTE PLUGe bars, as that is how the projector has been calibrated. Those bars are essentially all one shade of black on a macbook, so now I'm concerned that once projected, my blacks may look lighter than originally intended. What confuses me is that I have tested out my own blu-ray on a few different televisions, and the contrast and color looks good. When projected, could it really be vastly different? Should I re-grade another version specifically for projection exhibtion? And if so, does that mean I would need to bring down all my blacks? We used the scopes and everything is on the line, nothing crushed. And if that's the case, are studios grading several versions for broadcast and streaming? I know it's quite a bit to digest. Any thoughts would be welcomed! Go easy on me, I'm still learning. Thanks so much!
  2. Hi All, I've noticing on my dailies for recent projects that I am underexposing skin tones. It is mostly intentional as I just find "balanced" shots quite ugly and digital looking - less so on the Dragon and Alexa, most significantly on the C300. I end up putting skin tones around 30% IRE and highlights (say 90% IRE) at about 60% IRE. These projects have all been narratives obviously as I wouldn't be able to get away with this in commercials. I'm wondering if any one else has experienced this with highlights. I'd rather not underexpose as it can make things tough in the grade, but I just find that I prefer everything lower. Khalil
  3. Hello! I have just finished a final cut of my new movie and would to color grade it. I heard something about buying a specialised video card for precise video playback (in terms of color reproduction). I found Blackmagic Shuttle as a relatively cheap (200$) option but I am not sure if it will do the trick? Also, one of my colleagues who knows about grading more than myself told me that I should be connecting Blackmagic shuttle to the minitor via S-Video out, not DVI or HDMI as they are not able to reproduce the colours precisely. Do you guys have any suggestions in whether which connection type should I choose for the best color precision? My movie was shot on a Mark III, H.264 in Full HD. I will rent a JVC Broadcast monitor for my Color grading work.
  4. Hey guys, I am not a cinematographer, Im just curious about it. I've noticed in behind the scenes footage that a scene will look so lit up, but then after post the shot is dark with shadows and back lighting, beautifully lit. I have an intuitive theory why...Makes it easier to tune the exposure, shadow detail, highlights etc...Gives the color grader everything he needs to make the shot look awesome. And its done by calculating the power of each light relative to each other. But this could be completely wrong ha. Anyway, please educate me, I would appreciate it. btw, can anyone recommend a good book on the phycological use of color in filmmaking? If there is any.. Thanks
  5. Hi everyone, I've one those searcher of the holygrail, searching for the filmlook without using stock. The film below was shot on 60d and I thought the image texture was astounding. I contacted the filmmaker and he wouldn't respond to what factor helped in acheving such texture from such camera. I was wondering if its the L-series lens that contributed that? Thus I came to you professionals to help me answer this question, How to get texture organic image from a DSLR?
  6. Hi all, im from india. the cost of DI in Baslight for 2 hour movie shot on Red Epic is around 30000 US doller. i want to know whats the cost like in other country.
  7. Lucky to have an Ikonoskop on loan but can't process the DNG footage. Going slightly mad trying to work up a simple workflow so I can just do some edits. My shots are all indoors with available light and gain turned up. They look great just opened up and tweaked a little in Photoshop. I used to using AE for editing and it does a great and easy job on the DNGs but too slow to use. 4+ hours to render 8 mins. So, trying to make Prores files: DaVinci Lite does a great job on the DNGs but it practically melts my 2009 MacBook Pro's GPU (GT 9600MT) causing system shutdown Speedgrade CS6 works fine on my Mac but the DNGS look awful, very dark, and red. Each clip needs special attention and once I have balanced the DNGS they then all have green shadows. The Speedgrade process seems too difficult for me. I read here about debayering but don't know if that is the problem or how to solve it. I also read that despite the Ikonoksop WB settings in SG6 it ignores all the camera metadata settings - which probably accounts for the darkness of the shots. Aside from that the SGcs6 output then seems to ignore all the grading applied (at the moment). My only practical solution is to make tifs which at least AE can use happily.Obviously then I'd have to switch out these proxies at the end for a final graded high quality render: 1. import each shot folder into Lightroom and output as tifs into separate shot folders for use in AE. Laborious workflow. 2. Do the same with photoshop using the Adobe RaW interface to process each image in each folder. Still slow and a bit Laborious but workable. What I'd really like is a solid and clear Speedgrade workflow that produces images as good as Photoshop/AE and can output all the clips as prores. Has anyone done this, please? I'm not clear how anyone without DaVinci can work with this footage in any practical sense. Is there a way? Thank-you.
  8. Red Giant has released Magic Bullet Looks 2.5 featuring new tools and interface improvements, not to mention some serious speed boosts. Best of all, this is a FREE UPGRADE for Magic Bullet Looks 2.0 users. http://www.redgiant.com/blog/2014/04/22/magic-bullet-looks-2-5/ What’s New in Magic Bullet Looks 2.5: Strength Slider: Control the overall strength of your entire Look with an easy-to-use, keyframable slider. Speed Increases: over 20% faster. Improved Looks Previewing: allowing a user to hover over a Looks to preview to see the results. LUT Tool: allows users to import .cube LUTs as well as 12 new LUT Presets. S-Curve Tool: makes it easy to add contrast without losing detail. Better Custom Looks Management: making it easier to share your Looks with other editors.
  9. Hi all, I've recently finished shooting a music video on 4-perf 35mm, 5219. I'm about to send the film off for processing/transfer and I'm sort of stuck as to whether I should get an HD telecine or a 2k scan. The price difference given the amount of film I'm working with is not that large of a concern. My lab of choice (the wonderful Video and Film Solutions in Maryland) uses a Spirit for both. Now obviously, as it's a music video, it'll only ever be viewed on computer screens, so I'm sure the difference won't be too drastic between the two, but there are still some factors to consider. First off, a solid amount of the video is shot in a city (Richmond, VA) at night, with only available light, meaning I was basically consistently rating the film at around 2000 ASA, sometimes higher. So grain will definitely be an issue, and on top of that, I plan on pushing a few of the rolls 1 stop. From my previous experience with 2k scans, it seems as if the higher resolution relative to HD makes grain seem even more apparent in scans than it does in telecine, so would the combination of the thin negative, the push, and the 2k scan make the grain way too intense? I understand that "way too intense" is a vague quantifier, so I guess to put it a bit better, would I be better off in terms of keeping the grain at a manageable level (given the negative that I'll be working with) with an HD telecine or a 2k scan? And I guess in a more general sense, what would be the advantages (or disadvantages) of going with 2k in this situation? Also, this may be a stupid question, but just to clarify my understanding, it's definitely possible to maintain the 1:33 aspect ratio with an HD telecine, right? Any time I've previously had HD telecine of 35mm it's been automatically cropped by the lab to conform to a 1920x1080 frame. But theoretically wouldn't it be possible to maintain the full 4-perf frame with no cropping if I specifically instructed the lab and just have bars on the left and right of the frame? The film was framed for and always intended to be presented in that format. Any help is greatly appreciated! Thanks, Dylan
  10. Hi guys, After watching the excellent THR cinematographers roundtable, I feel compelled to draw more attention to one of the key issues they discuss - the lack of control of the final image in todays modern world of different screens and projector standards. I've been lucky enough to have a few films I've shot recently coloured by Rob Pizzey and Adam Glasman at Co3 in London and we've achieved results I've been delighted with in their colouring sweet, both in the P3 space on their projector, and in Rec709 on their Dolby monitors. The problem however, is when we output to home deliverables in Rec709 h264, the image is so drastically different on my home macbook, iPad, TV that I find when sharing it I'm constantly having to explain and apologise for the final quality. Personally I've found this much less of a problem with DCPs in theatres, but modern displays at home are surely capable of better. It strikes me that rec709 (created in 1990 for TV) surely can't still be the answer for grading to a standard that will look good across all devices. Of course the issue is in two parts here, but is there a push anywhere to standardise a modern colour space and standard across hardware, that can reap the benefits of more dynamic range, contrast and better colour representation? I've heard about rec2020, but as far as I can see this seems to be just for 4K TVs? Would love to hear your thoughts and hopefully there's an answer out there in the works, to ensure a more modern and standardised presentation of the work we do in peoples homes and on their devices. Eben
  11. Hello there, I am a freshmen undergrad in film school and recently got the position to work as a DIT and editor on an upcoming short. The short is a collaborative effort of one of our school clubs where we managed to get together to funds to shoot with an epic. During the shoot, which is coming up this spring, I am to apprentice a professional DIT and learn the ropes. Eventually taking over once I am comfortable with the procedures and so forth. I am also going to be grading and editing the RAW footage. So prior to when my apprenticeship begins I would like to have a firm knowledge of what I am getting myself into. So I was curious if anyone had any articles regarding the DIT workflow and responsibilities of the job. Also I am looking for any articles and info on grading RAW footage which I have experience with in terms of stills, and the RAW editing workflow. Despite going into this without any experience in being a DIT, I am a very adequate editor in Final Cut and Premier. Just to let you know I’m not entirely unqualified for the position. Summary: I am looking for all information, advice, and articles regarding being a DIT to a RED Epic, and grading and editing RAW footage. Thanks!
  12. Hello, I've been noticing lately in movies, hardly anything is natural color, its either cool, warm ora combonation of the two. I've tried just about everything (from lighting to multiple grading techniques) and can't seem to nail the look and feel of the shots I see. I've included 2 examples of what I'm talking about. The first is a very cool grade from the catching fire trailer (awesome). Somehow the highlights and shadows remain neutral, and it almost looks as if the midtones are a little bit neutral, but somehow it still seems blue. the 2nd picture is a scene from inception with a very orange feel. My question is how are these achieved, is it through grading, lighting, white balance, or a combination of them? Thanks for any advice!
  13. These are a few stills and a link to the trailer of the latest film I was Director of Photography and Colorist for. Would love for some good critical feedback on lighting, tone and color! 24fps @ 1920x840 transferred to DCP 2K [2.39] for projection CAMERA: Canon T2i TRAILER: Lune Bateaux Pictures -- Muffet -Joshua
  14. Hi, I have a couple of questions for our next (student) short we will be shooting in the first half of April. At first we wanted to go 16mm (anamorphic), but it's quiet expensive for us. And wide angle anamorphic is a problem with 16mm. We're still thinking about it though. But it's probably going to be the digital way. Now the short is about half and half daylight and nighttime. Probably a bit more at daylight. We're thinking about renting a Red-epic since it's a lot cheaper (than an Alexa). But I'm a bit "scared" for the nighttime shots with the epic. We will be passing neon street lights, in car shots which can get pretty dark, etc. What do you think? Will it be ok? Second question is about post production. We love the (16mm) celluloid organic look, and specially for this film. We were wondering how this is professionally emulated/achieved. Are there a couple of ways? I add professionally since we were thinking about festivals etc. (I read somewhere that adding a random grainy look is okay for youtube videos but not for more serious stuff.) Thanks ahead,
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