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.
As someone who’s worked in network television for a long time, it seems strange to be wrapping a season of a show – let alone two shows – in September. Throughout the medium’s history, seasons have traditionally begun in September, with production commencing in July. But in recent years, the growth of cable networks as a venue for scripted series has largely changed that model, with many cable shows having production and post cycles that don’t coincide with the traditional network periods at all. With creatively and commercially successful dramas (and comedies, albeit to a lesser extent) now being produced for services like TNT, USA, TBS, FX, AMC, and A&E, not to mention the pay channels like HBO and Showtime, “production season” can begin in July, September, November, March, or anything in between, depending upon the network, show, and proposed time of year for airing. This has allowed them to air shows at times of the year when they don’t have to compete directly with the broadcast networks, for instance, during the summer.
Once upon a time, software companies (and some hardware companies, for that matter) had development programs. These development programs were divided into phases – early development, more advanced development, product testing, and finally product release. These phases were often referred to as alpha, beta, release candidate, and release. They all were controlled in order to make them more directly useful to the developers, with the early alpha code being distributed only to the developers themselves as well as some users for early opinions and testing, the beta code to a select group of users for more direct feedback under simulated “real” conditions, and the release candidate to a slightly wider group for testing under actual conditions with the understanding that bugs might be encountered along the way. Over time, this proved to be a good methodology for developing complex software without costing customers time, money, or embarassment, but giving the developers feedback that can really only be obtained from experienced users outside the development lab, in actual conditions. All participants in these programs (alpha, beta, and release candidate) were required to sign NDA’s (Non Disclosure Agreements) in order to keep them as a control group and not light the fires of expectation under the non-participating users. In this way, new features could be tested and perfected prior to product announcements and trade show unveilings. continue reading…
As another television production season begins (most network shows begin shooting shortly after the 4th of July holiday), the question of whether to shoot on film or digital formats has become almost an anachronism in 2010. The fact is that the SAG actions a year ago solidified and accelerated a now unstoppable march towards use of digital formats for all but some legacy shows that are still shot on film. New shows are almost universally choosing (some might say being compelled by the studio, but I digress…) to put the cast under AFTRA contracts and shoot with digital cameras of various types. Under the umbrella of “digital formats,” there are numerous choices available: compressed and uncompressed, videotape based and file based, HD formats and higher resolution formats, large format and small format, and price ranges for equipment ranging from ridiculously cheap (the Canon DSLR’s) to if-you-don’t-have-a-network-level-budget-you-probably-can’t-afford-it (F35, Panavision Genesis, etc.). This season, you will find network shows shot on equipment from Arri, Panavision, Red, Panasonic, Sony, and possibly some others as the primary, or “A” camera, but on the same sets on any given day you might very well find cameras from companies like Canon, Iconix, Woodman Labs (the Go Pro line), and even Apple’s iPhone being used, sometimes on the same scene. If it all sounds like a bit of a free for all, well, to some degree it is. On the down side, the presence of all of these devices, each one seemingly with its own specific file format, has made life much more difficult for post production, both in editorial and in final finishing. On the up side, the viability of all of them for specific purposes has given production more tools than they’ve ever had to explore visual creativity. Every show must ultimately decide what to use as the “A” camera, regardless of what other tools they might bring to the set on any given day. And the reasons behind those decisions are not always what people outside the mainstream television industry seem to think they are. continue reading…
I recently completed a digital intermediate project for an independent feature called “Meeks’ Cutoff.” This picture had a few rather unique characteristics: it was a period Western, it was set in – and shot in – eastern Oregon (an area not exactly known as a production hotbed, and one that as a result has not often been photographed), it was shot with an intended aspect ratio of 1.33:1, and perhaps most surprisingly for an independent production these days, it was shot on 35mm film. Considering the many harsh production conditions – wide open areas with little shade, rapidly changing skies and weather conditions, and lots of dust – that choice was a wise one. But in grading the picture, I was quickly reminded of why film survives, and why it is, in many ways, still the most robust and forgiving production format we have.
Postworld went live on November 23, 2009, which means that it’s now a bit over six months old. I suppose that’s enough of a milestone to take some stock of what it’s meant both to me as your host, and to you as my guests. For me, this blog has been an outlet for me to both learn and educate, and I very much enjoy doing both. I learn from your comments and from the research that I do to fact check the things I write about here, and I hope I educate by sharing that newfound knowledge with all of you in at least a mildly entertaining manner. All of us have our own unique perspectives that we develop through our personal experiences in work and in life, and if there’s one thing that the Web and blogs allow us to do, it’s to share those perspectives and enlighten ourselves and each other in the process. Hopefully Postworld has helped to do that for you, I know it has for me. continue reading…
Due to my work schedule, I did not attend the NAB convention in Las Vegas this year. Which, as it turns out, is a pity, because it was probably one of the most interesting gatherings in quite some time. Lots of interesting announcements on various fronts, involving some of the more significant players in our business, including Arri (with the Alexa camera line), Aaton (showing the proposed digital back for the Penelope camera), Assimilate (showing a new version of Assimilate Scratch working with Arri RAW files in real time), Filmlight (some very interesting new things coming, including integrated Red Rocket support, and support for Sony’s new software version of the SR codec, allowing for some very efficient file based workflow enhancements), and Avid (Media Composer 5, one of the most significant upgrades of that software in years). And I’ll be writing about all of these things in time. But perhaps the most significant – and potentially disruptive – announcements came from Blackmagic Design regarding their newly acquired DaVinci product line. continue reading…
I’ve been a bit busy lately, both personally and professionally, which has resulted in a bit of time between posts. Personally, I moved (from Woodland Hills, in the San Fernando Valley, to Playa Vista, near Marina Del Rey) about 3 weeks ago. This represents a kind of homecoming for me, only a year after coming home from a few years in Florida, as I lived in the Marina on and off for almost 10 years. I’ve always loved living near the beach, especially here in Los Angeles during the summer months, as during the day, it’s almost always at least 20-30 degrees cooler than it is in the Valley (yes, you read that right: it can be 105 degrees in the Valley, while at the beach – less than 10 miles away if you’re in Woodland Hills – it’s only in the mid 70′s). Professionally, I’m now working for a digital intermediate and post facility called Next Element by Deluxe, in Burbank. Next Element has been a working digital intermediate facility for the last 7 years (it was previously known as Hollywood Intermediate), and was recently acquired by Deluxe Digital Media. The company has expanded its focus into television post production, and that’s in part where I come in. My actual title is Senior Colorist (along with Julius Friede, whom I’ve known for many years), although as with most smaller facilities, I’ll also be involved in helping to solve some workflow and technical issues along the way. The people at Next Element are top notch, from the management team, to the producers, to the technical staff, and I’m very happy to be with them. It also represents a reunion of sorts for me with an old friend, Bruce Long, who’s come in as President of Next Element, and is someone I’ve known for almost 20 years and worked with previously during my time at Encore Video. He’s also a very close friend, and the opportunity to work together again is something I’ve looked forward to for a long time. In addition, Next Element is one of the first of what I would consider a “new age” post facility, one that is almost entirely file based, with no use of videotape other than for ingest and delivery. The combination of a custom built Linux based infrastructure, Baselight color grading systems, and some very, very smart people makes for a rather unique atmosphere. I think (and hope) the industry will be hearing quite a bit about us in the near future.
That’s enough about me. We now return you to our regularly scheduled blog posts, already in progress….
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