I off-lined a national spot involving a great looking early morning cattle drive with cowboys and the rising dawn sun. As such, it was very contrasty and lots of it was fairly dark, (at least in the one-light telecine that I received, back in the early-1990s). I cut the spot together and was pretty proud of it. Then I went to the color correction session (back when agencies still paid for editor's and DP's to provide input).
The D.P. was furious at me because I'd left out some BEAUTIFUL shots. Now obviously editing isn't all about just putting in the best shots, but I had been going from a pretty crappy one-light and when I finally saw a REAL grade of the shots, I had neglected some truly spectacular footage because it just looked unusably dark to me. They were able to push enough light through the negative in the real color correction to bring out some great looking shots, but the one-light just looked SO dark. The range of light levels in the course of the shoot was huge and they basically corrected the one-light for the middle of the hour-long shoot, making early morning stuff fairly dark and later morning stuff look a little blown-out. Almost everything that I used in the spot was from the middle of the shoot.
Some of that was my inexperience cutting from one-lights (plus no NLE CC tools, back then). Some of it was from a cheap one-light. And some of it was from the DP getting her ass bailed out by a great final color correction. In her defense they were trying to really run and gun a lot of footage during a single "golden hour" shoot, so exposures were probably set every few minutes even though the conditions were changing much faster than that.
Steve Hullfish
contributor: www.provideocoalition.com
author: "The Art and Technique of Digital Color Correction"
On Aug 7, 2011, at 12:42 PM, Chris wrote:
> This is a huge point.
>
> When auditioning clips for use in an edit it is of high benefit to do so with at least a rough correction pre-applied on the source side. This is important for creative reasons. It can also help spot technical flaws or other visual issues which may not be easy to correct out.
>
> Wholesale application of non destructive LUTs in mass on the bin and clip level would allow this. Having those LUTs work in partnership with program side finishing color correction would be necessary.
>
> This will definitely take upgraded performance to allow responsive transport control of source clips with what is essentially a real time effect already applied. Newer systems should be able to do this. Older systems may not.
>
> The conduit for applying LUTs via bins should also allow user to plug in LUTs developed by 3rd parties or themselves. From what I understand DS and FCP Classic allows this.
>
> It is also worth mentioning that 10bit and greater processing is really needed in a simple, dependable and flexible way. Processing all corrections in at least 16 bit 4:4:4 no matter the colorspace of the source clip should be considered. This should not be a special mode or timeline setting. Even though it should just work this way all the time, a project setting would be ok.
>
> Its a new world and I have "tired head" from cramming so much new information in my brain. Not enough room left for football statistics.
>
> C.A.M.
>
> On Aug 7, 2011, at 1:10 AM, "Job ter Burg (L2B)" <Job_L2@terburg.com> wrote:
>
> >
> > There's a bigger issue at hand IMHO.
> >
> > When I'm cutting a scene, it's easy to add a CC to any flat looking footage. I work on it for a while, then decide to look for an alternate take on a shot, and I open it in the source monitor, and that alt take will look boring and flat. That simply influences the perception of that take (in a negative way), and that's a pretty bad situation in offline.
> >
> > On 7 aug 2011, at 07:53, Terence Curren wrote:
> >
> > > when the image is so flat that unknowing people will freak out.
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
[Non-text portions of this message have been removed]
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