[Tig] Fwd: Are you the colorist tig moderator?

Craig Leffel craig at optimus.com
Sat May 30 01:11:03 BST 2009

I've done quite a few projects lately where we've had Phantom, Red and 
35mm Film in the same timeline. Most often it's Phantom and Film, 
sometimes Red and film. I've found that setting a similar white point in 
all the digital footage helps quite a bit in this case. We then render 
everything out as Log and bring it into a Baselight timeline that's been 
formatted as Video. We end up with quite a bit of range with Log, and 
since it's a WYSIWYG setup, everyone can see how things line up.

I wouldn't call it easy, but for TV, we're making it work without too 
much headache. I don't do any direct to Digital Cinema work where we 
explicitly color correct for that display space.


>> "What percentage of  Film vs. DATA are you working on lately?"
>> My questions to the community are:
>> How many projects are now targeting Digital Cinema as the primary 
>> deliverable?
>> Have people been grading mixed media, film based acquisition along 
>> with pure digital,in the same timeline?
>> What have the primary strategies been for handling that media?
>> Joseph Slomka
>> Color Scientist
>> Sony Pictures Imageworks

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