there will still be time spent in a real final cc session and the dp's "onelight" input will be thrown out there anyway.
this is bull. i'm willing to bet edit co's would like to capture the revenue from
applying the dp's LUTs to dailies. this is an add'l charge for someone. more sources of revenue move away from editorial.
and supplying dailies to everyone is a crap idea! but i like the idea of doing color in editorial and using some kind of new resolve for onlining sounds awesome to me.
they must have added a ton of new stuff to call themseves an online edit solution. exciting!
owen
On Apr 5, 2013, at 9:24 AM, Steve Hullfish <steve4lists@veralith.com> wrote:
> The on-set color correction thing is REALLY more about TV schedules, not feature schedules.
>
> It's also about money and efficiency.
>
> If you can do color correction where and when you have access to the DP, without having to pay him extra (or ask him to do it on his own time) to drive to a post house to communicate and supervise, then that's a GOOD thing for the DP.
>
> With a filebased workflow, SOMETHING has to happen on set... a transfer has to happen at least to hard drives that would, in the old days, be sent off as "film and audio tape" to the post house to sync and grade and organize and do the dailies. So now it's all happening on-site or near-site.
>
> This can save more than 8 hours. It can save almost an entire day and in a TV schedule, that's huge. This is a product of the change from film/NAGRA to filebased.
>
> It also has allowed - to the detriment of the process I think - for dailies to be widely distributed on set to certain key players on the same day that they're shot... many of these on-site companies provide wifi "instant" delivery of dailies to iPads throughout the cast and crew. They also get posted to whatever the production and network executives' internal data networks are so that those people have instant access.
>
> These aren't really just "ad hoc" solutions. Most of them are extremely well thought out and most take extreme care that the monitoring solutions are in place to accurately view the grade.
>
> Whether some DP who is nearing retirement rolls his eyes does not serve as an indictment of the process. Largely, the DP is the very guy that this should HELP.
>
> Steve Hullfish
> contributor: www.provideocoalition.com
> author: "The Art and Technique of Digital Color Correction"
>
>
> On Apr 5, 2013, at 12:07 AM, johnrobmoore <bigfish@pacbell.net> wrote:
>
>> The dailies is what others I spoke to tonight suggested as the reason for on set color correction. That makes sense but when I asked a very experienced D.P. I know who has 40 plus years of experience and awards about why he would need on set color correction he kinda rolled his eyes and muttered, "I'm glad I'm almost done." Is there really such a rapid need for turn around that a whopping 8 hours makes that big a difference. The few features I've worked on have edit schedules of a year or more perhaps that's not the norm but that's what I've seen. It sounds like another example of how the new technology is changing the traditional methods of review and approval. I find it hard to believe that a seasoned film D.P. would feel comfortable with an ad hoc screening tent/room on set but that is only speculation on my part. When shooting at a remote location what was the traditional film approach to screening dailies?
>>
>> --- In Avid-L2@yahoogroups.com, Steve Hullfish <steve4lists@...> wrote:
>>>
>>> On set color correction is a way to speed the delivery of dailies to the editorial department. It also allows the DP to have a closer eye on the process. If the primary grade ("one light") is done off site (at a post house) the DP can't regularly get over there to communicate with the colorist. But if it's on-set, the DP can take a look at the grade in between takes or at lunch or at the end of the day. It also allows the grading to start immediately after the first break in shooting when the footage can be transferred from the camera, whereas, at a post house they don't send all of the footage back for grading until the end of the day, so it can save 8 hours or more.
>>>
>>> Often times "on set" really means "near set" so the grading is done in a dedicated room nearby, in a darkened tent, or in a truck.
>>>
>>> There've been on-site grading solutions the last several NABs.
>>>
>>> Steve Hullfish
>>> contributor: www.provideocoalition.com
>>> author: "The Art and Technique of Digital Color Correction"
>>>
>>>
>>> On Apr 4, 2013, at 9:05 PM, johnrobmoore <bigfish@...> wrote:
>>>
>>>> Forgive my lack of on set experience but I'm curious why there is a need for on set color correction. I understand doing rough edits on set to make sure there is adequate coverage but I thought the look was estabilished by the DP etc... looking at things in the "Video Village" these days. Would on set color correction be a way to determine if something is good enough to be fixed in post? I assume this would be used primarily on controlled sets and not the run and gun style of reality/documentary I usually work with. Time is money so I guess there is value in finding out if you've got it but I find on set color correction sounds like a way to make sure something is good enough whereas I feel like most DPs are trying to make it the best it can be. I'd love to hear from people with some on set chops and how they see this impacting workflows in production.
>>>
>>>
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>>>
>>
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