[Tig] flat scans for tape to tape
delaneydoug at gmail.com
Wed Sep 23 19:18:17 BST 2009
My experience is mostly doing feature film HD deliverables from completed
DIs, so the source for the HD sessions (either Davinci 2k or Baselight 4)
would be log filmout ready dpx files. But we as a facility do scan film
elements for library HD mastering as well, and we do this mostly in linear.
In my experience, it is possible to get a very similiar end result coming
from either log or linear source... but man it takes more time than it
should. By sourcing log files, we're essentially doing the log-2-video
linear conversion as a color correction. Now that is fine as it can be
argued that a color corrector is a rather expensive LUT generator. But by
doing so, you're putting the primary controls off into left field, hence the
"very touchy" comment you rightfully made. There's also likely significant
tracking problems when working this way - brightening a shot means it shifts
color as well.
When coming from log filmout ready dpx files, I will typically put a version
of the print emulation 3d LUT used in the theatrical grading environment
before color correction to get me to a very good starting position, then
I'll do my trim from there.
Hope that helps.
Post Logic/Prime Focus LA
> > What are others experiencing as the benefits of one way vs. the other?
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