[Tig] Epic V Alexa
weagles at bigpond.net.au
Fri Aug 26 00:23:01 BST 2011
Do you know what the best thing is about all these new digital formats?
It all needs grading :)
Have a great weekend
Freelance Colorist Australia
On 18/08/2011, at 7:05 PM, Seamus O'Kane wrote:
> Whilst I agree that some aspects of Alexa are satisfying the bigger
> issue for me is that the Photography is getting lost within this
> "marshmallow of exposure" and often the end result is stylised
> Agency Clients are seeing more and more logC images, either on-set
> or in offline editorial, and the consequence is that they desire to
> maintain all detail regardless if how a DOP has shaped his lighting
> to reflect mood, narrative or beauty.
> When first re-profiling the logC to find the DOPs intent I expect
> there to be a shape in the lighting which will be the basis for my
> grade. As a session progresses we work to add into this "shape", to
> enhance it, to push it, to coax it and sometimes to change it
> altogether. Either way discovering the DOPs intent is a vital part
> of our art.
> Unlike the considered, technical, lut calibrated workflows of
> Features or Episodics most Commercials lose the DOP after shooting
> and that means that their insistence of any form of lut viewing
> assessment goes as well.
> Most offline conforms I see are basically in logC. Maybe a but
> tweaked in an Avid or FC but they represent more the "marshmallow"
> than photography.
> The problem during the Grade is that incidental set dressing assumes
> importance over lighting as the retention of all detail becomes the
> Client mantra.
> Whilst any one piece of work can finish quite pleasingly under this
> regime the viewing of a commercial break and seeing five such
> finished spots becomes tedious.
> Commercial breaks in the UK used to be an oasis of commitment in a
> sea of mediocrity. On the basis of image that seems to be no longer
> This year Alexa seems to have become the data capture format of
> choice and is certainly pulling about 80% of that work.
> I would say data capture workflows in general are now pulling about
> 65% of the total with the balance being 35mm.
> 16mm has sadly become quite rare.
> That Alexa has dominated over the Red is probability due to the more
> easily understood workflow. The tendency for Red to shroud
> everything within a fog of science did them no favours.
> The often mangled r3d transcoded images are now history as I work
> directly from the r3d files and the resultant grades are a lot
> better for it.
> In many ways I prefer to have the front end control offered by
> addressing the raw but sadly I can sense that the relative
> simplicity of the Alexa workflow ,coupled with a desire to maintain
> ProRes as a pipeline format, is setting a de facto standard.
> One wonders if the upcoming crop of new cameras will offer
> sufficient advantages of workflow and image to be able to challenge
> Seamus O'Kane
> The Mill
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