DPX files are captured at the full 1920×1080 7.9 Mb size of the individual Viper frame. Firstly it can capture a still frame from the Vipers output in DPX, JPG, TIFF, PNG and BMP formats. This particular monitor performs a couple of unique jobs to enable the correction of images to create the LUTs. To get the LUTs I needed whilst on location, certain hardware and software is required to create LUTs for correction.įirstly a CineTal 4:4:4 Dual Link monitor was used for viewing and LUT application. My main concern about these LUTs was the colour balance for 3200K and 5600K. On a recent Viper shoot it became apparent that some form of on-set correction was needed to remove the Viper’s pastel green cast that is generated by the HD Stream and Filmstream outputs (this is best described as a green film base as opposed to the usual orange film base – a digital negative if you will. Digital Cinematography should try to retain the correct colour intention from acquisition, to on-set displays and through post production to final print release. Post houses can also help set LUTs before photography begins, leaving no doubt about how digital dailies and reference DVDs will look – this again helps DPs and post work together to achieve the same colour path. Although talented graders need only a few seconds to correct an image, at least they have the DP’s colour ideas with which to start from – and it helps. Things may change further down the line, but the DP’s decisions made on-set are now clear to all. Important colour decisions made on-set can now be visually interpreted by post with a clear understanding of the DP’s intentions. We are creating a continuous colour pipeline from on-set colour decisions all the way through post, and thus keeping the intents of the DP from the set through into post. What we are doing is interpreting the colour intention of the photography as it is shot to give the grading and post team a good base from which to start from. The grading is done in the post facility with something like a Baselight. It’s important to understand that firstly this is not grading on set. This includes the benefits that LUTs bring to the production, the equipment needed to implement LUTs on the set and the differing ways of using LUTs through to post-production. We will look at how LUTs can be used from a DP or camera operators viewpoint. For on-set work, software is now in place to aid DPs using 16 or 35mm film with their colour decision choices (Kodak LMS, G&D 3cP). LUTs are an increasingly integral part of any film project, be it digital or film cinematography. Continuous colour pipeline from capture to post A great starting position for final colour timingĤ. Immediate on-set dailies via monitoringĢ. Dan Mulligan Of Rogue Element Films Gives His advice On The Use And Abuse Of Look Up Tables (LUTs) in Digital Cinematography.ġ.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |