[tig] HD DI Workflow
Thu Sep 23 10:09:00 BST 2004
<I am curious to know what aspect ratio was used in the HD 10 bit log
transfer. Was the image cropped to 16x9 at the transfer stage, or was it
transferred as pillar-box? Or is the final commercial 16 x 9?>
4:3 with a 1440x1080 pixel count - the final SD version had to be 4x3.
<I was demonstrating a da Vinci Nucleas with 2K Plus at IBC that offered a similar workflow, but used full size RGB 2048 x 1556 10 bit log images from a server that output real time HD through the 2K Plus.>
Unless you have a Spirit 4K you can't transfer film realtime at 2K. That was the key to this workflow due to budget constraints. I do a hell of a lot at 2K, as you know.
<The advantages are access to the whole open gate 35mm image, 2K
Plus tools in real time, and of course in context grading. Nucleas conform
tools allow the colorist to switch between source order and edit order, as well as rendering dissolves.>
See above, And what about text, vfx shots, painting, graphics, etc., all of which were required for this job - DI is not just conform and colour - a common misconception.
<I have not used DVS Clipster in this way, but I believe it could do
something similar - probably there are other systems that can or will too.>
True, for conform/colour only I have used Nucoda's Film Master a number of times - but see comment above.
<I also firmly believe that DI will be the post production workflow of the
future, and that 10 bit log is the best way to capture film for color
enhancement; but would not agree that HD video capture is as good as film (yet?), or that a YUV HD source is a good alternative to RGB 2048 x 1556 (especially if it gets compressed). The type of job and overall quality decide. See Geoff Boyles excellent CML site for an quick lesson in dynamic
Depends if you are outputting to film for a final master at 1828 academy or not. As for DR, there is a finite limit to the eye's ability to see DR. Printing the neg is what selects this visible range from the over-range neg. HD is WYSIWYG, so requires less DR capture, IMHO. You should see the Anamorphic print I have of 'Daddy's Boy, shot HDcam with a Cannon Zoom lens, so a worse case senario as only the middel 800 or so linmes made it to the print, and the compression and 8bit format of the captured image
were obviously the worse HD possible. However, the results are fantastic, as those within the London community who have seen it can attest to. Remember only 1.2K worth of pixels make it to the screen in print form. But then my original post was talking about a DI workflow for video deliverables only, not film. As always all this is backed-up with info on the Digital Praxis website.
<A lot of it comes down to who is doing the job, and what kit is available.
Just because there is not a noticeable difference on one job, does not make
it an ideal solution for everything (or everybody) else.>
True. But telecine colouring will be replaced by DI (IMHO), with film transfers done as 'clones'. Never 100%, as even today I still see the odd 1" tape machine!
<I have worked for da Vinci in the past, and continue to get work from them on a freelance basis.>
Good for you. I was working for AHC on a freelance basis.
<I shall also be holding colorist classes in November at da Vinci (
<http://www.finalcolor.com/class%2004.htm> ) but these opinions are very much my own and are not in anyway orchestrated by da Vinci.>
Where's my invite then? You paying for flights ;-)
Digital Praxis Ltd.
+44(0)7765 400 908
steve at digitalpraxis.net
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