[Tig] compositors doing grading

[Rob Lingelbach]

Fri Aug 4 2006

I have been with compositors and other editing/3d/2d artists for the
last week and have come to the nonpremature conclusion that they
have trouble in working with DoPs and Directors for color
correction.
I suppose I should have known this, but these folks need some help
in the
concept of grading.  Let it be known that this was not at the
facility where
I currently work.

It seems the very first thing a comp artist wants to do when presented
with a raw scan is go in and construct a window to correct
a flaw in the image.  There isn't a constructive dialog with the DoP
about color, feel, look, presentation, continuity, etc.   It almost
seems
like a lost cause from the beginning, but I can also see how
hopefully, the
more astute among the compostiors would understand about color and
density.
But many don't have any idea.  In other words, a compositor
approaches the session
as if it's ready to be fixed, not ready to be orchestrated.

Regarding prints from the labs: there are certain tendencies the lab
prints have that the DI shows to poor advantage.   Example 1,2,3:
I've been to 3 labs with Truelight LUTs for each one, printing at
each lab.  Every print looks (relatively, with some color problems) the
same, except that *there is way too much contrast in the image*.
Now we can assume that going "down a generation" is going to lose
detail.

But:
Take the BKSTS chart for grayscale, res, color chips, and
resolution.   Ingest it into smoke. flame, whatever.  Output it for
scan, record frames of neg.  Do test prints as 10 feet loops to
ensure lineup with the projectors you know best in town they seem
realtively
equal....  but at least we have the equality).
Colorist uses has as first frame of every scan of reel the first
frame, which is
this chart,  as lineup.   Ensures the following:  video projector
resolution,
color rendition, grayscale separation.     THEN *Do DI job* with
client.

bring loop of test chart (calibrated by eye back to neg, by great
color timer or colorist) to test print stage of DI job.   Look at and
check loop on projector.  Then put up the DI print.  it should be
good.  This is a huge lack of understanding between labs and
facilities in
certain countries.  they don't seem to understand the idea of
calibration.

I see a huge need of training comp artists on color grading.
I also see, in an even greater sense, the need of SMPTE chapters
more active
in certain countries, in getting information out to (mainly) DoPs.

Rob
-- 
Rob Lingelbach    colorist, Pixion, Mumbai        TIG
founder/devel/admin
http://www.colorist.org/robhome.html