[Tig] DI workflow, capabilities and requirements
Sun Mar 27 18:20:06 BST 2005
At 3:27 AM -0800 3/27/05, Rob Lingelbach wrote:
>but often it is not the DoP who controls the dailies process but the
>editors, directors and agency people, who absolutely insist that their
>offline represent an indication of what they expect to see when edited.
>What I expect is that we will go through a period where the offline
>editor applies certain LUTs to the "unprocessed" grade in order to
>satisfy the client, but that in turn means the offline editor becomes
>more of a colorist, and for right now in SD commercial work, in my
>humble opinion, that is better left to an experienced colorist working
>with the DoP.
There is another aspect to this as well. Whether they intend to or
not, the director and/or editor and other "constituencies" within the
production get the dailies grade very much stuck in their heads.
Whether you intend to do a DI, or to grade conventionally, there is
now often a sense that the final product should match the "offline"
as closely as possible. I sat in a screening with a director the
other night who asked, "Where did those rich ( - e.g.; totally
oversaturated - ) blue's and green's go?" in a test film-out for a
Those "blues and greens" were never intended by the DP to appear in
the film, and the director's attachment to them was due only to
familiarity with the rather exaggerated BetaSP dailies, as seen for
nine months on an Avid...digitized at a very "final"-looking 3:1
Back in the day, a work-print always looked like a work-print, and
digital dailies looked pretty nasty. Now they are 'good' enough to
become imprinted in the director's mind as the gold standard for
Many people are going to great lengths to project their video dailies
now, too. Sometimes in HD.
(This same thing has happened time and again with a scratch mix that
is preferred to the final. One New York-based director is famous for
_always_ preferring the rough.)
So, from my point of view, the dailies had _better_ be good.
Or really, really bad.
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