In the last post, we discussed what log is and why it’s used in digital cinematography cameras. Now we’re going to look at exactly how it’s implemented and what you should know about how to deal with log coded images. continue reading…
Postworld
post production in the file based ageWith the rapid success of the Arri Alexa, the continuing evolution of Red (specifically its deployment of the RedlogFilm gamma curve), and the use of log curves in things like the Sony F3 and Technicolor’s Cinestyle curves for Canon DSLR’s, I thought it might be a good time to talk about exactly what log is and is not, specifically in the context of digital images.
With the 2011 pilot season now completed (network pickup and schedule announcements will happen this week), it seems a fitting time to talk a bit about television pilot season, how it works, how it doesn’t work, how things have changed in the last few years, and how those of us who are involved get through it.
There has been a good deal of talk about the IIF/ACES system, but there seems to be a lot of misunderstanding as to exactly what it is. A lot of the early talk centered around the proposed file format to contain ACES information, but the file format is only a very small part of what the system is intended to be, and one of the least significant.
In Part 1 of this year’s forecast, we looked at cameras and production trends. In Part 2, we’ll concentrate on post production, distribution, and technology.
In 2010, the appearance of Blackmagic’s DaVinci Resolve on the Mac at an unheard of price point was probably the single most significant event in a year that also saw Autodesk release a Mac based version of their Smoke finishing software at a very attractive price point. In some ways, both releases were attempts by their manufacturers to determine exactly where the market sweet spot was going to be for the customer base they were attempting to create and attract. In Blackmagic’s case, they clearly felt that the growing popularity of Red, and perhaps to a lesser degree the Canon DSLR’s as video cameras, was potentially opening up something of a mass market for a category of software that had previously only appealed to the professional end of the post production market. By almost giving the software away (in the professional world, $1000 for a program that formerly cost 100 times that is essentially giving it away), they were attempting to corner a market that they had no proof actually existed. To date, I think the results of that gamble have been mixed. continue reading…
In doing another Fearless Forecast for the coming year, I re-read my previous forecast (posted exactly a year ago) just to see how I did. In a nutshell, not bad. Here are some things I predicted and how they actually turned out:
From the reaction to the two part “Grading The Graders” series, it was a topic that needed to be covered. The differences between the professional systems are not always clear, which is the reason I wrote the articles in the first place. I did want to present the systems in a quasi-comparative way, in which I wasn’t really trying to point out how each has changed over the years as much as I was trying to point out the specific strengths and weaknesses of each in relation to the others. However, I got some very valuable feedback, so I thought I’d address it here rather than in private emails to each of the respondents.
In reviewing Part 1 of this article, I did notice that I left out one of the more important “pros” of the Baselight system, and that is its directly integrated support for the Truelight color management system. Truelight, like Baselight, is a Filmlight product, and Baselight is designed around the use of that technology for all color management functions, a great advantage. Now…..
Continuing right along where we left off…..
There seems to be a lot of talk these days about color grading, and a lot of it seems to revolve around what system represents the best solution given a particular set of circumstances. In a lot of these discussions, there seems to be a lot of attention paid to using general purpose platforms, such as nonlinear editors like Final Cut, Avid Media Composer, and Premiere Pro, for this purpose, or using software written for the purpose of file format conversion, like Red’s Redcine-X, for final creative color grading. And while for some this may present a very inexpensive (i.e., essentially free) solution on certain personal projects, in the professional world it is generally not practical or desirable. And it is not pricing that determines these things, rather, it is a combination of factors that together fulfill the practical needs of a professional colorist. continue reading…
It often seems that nearly everything I read about the production and post industry today involves some sort of choice. Film vs. digital. PC vs. Mac. Red vs. Arri. Sony vs. Panasonic. Kodak vs. Fuji. Resolve vs. Baselight. Lustre vs. Pablo. Scratch vs. Speedgrade. The list goes on and on. But the very use of the term “versus” is a good indicator of just how far off the mark all of these things are, because the fact is that choice is a good thing, and making a choice based on particular circumstances is something that is done by every producer, cinematographer, and director on every project they undertake.
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