[Tig] Spec Sheet (or Work Order) design
pickettscharge at hotmail.com
Sun Mar 13 16:04:08 GMT 2011
I think you hit the main areas. What are the sources? Usual suspects being 35mm, 16mm, Arri Alexa, RED, Phantom, XDCam, HDSLR and various stock footage formats. Will there be raw images from Arri, RED and Phantom or will there be codecs, transcodes or a DIT in the pipeline?
When ingesting into the grading system what size port can you expect. A USB 2.0 for very large files will take a long time for example.
What resolution/frame rate is your deliverable and what is the most efficient way to get there with the most pixels? If delivering 1920x1080 DPX files 10bit for TV then ingesting and processing 4K files might not be the best option. But for effects work it might.
The graded files need a resolution, bit depth, file type (DPX, QT, etc), color space and naming convention.
In my experience with the deluge of new medias, a good conversation with those involved has helped the jobs more than a spec sheet alone. If it were Academy 35mm transferred to digibeta with burn ins anymore then a spec sheet would suffice.
Not only are the post houses/on site graders not certain of every possibility, neither are the shooters or the creative directors or the clients. In that way its been a little more interesting lately. "I dont know, what do you think?"
Colorist - Jam Edit
> From: rob at colorist.org
> Date: Wed, 9 Mar 2011 17:46:18 -0800
> To: tig at colorist.org
> Subject: [Tig] Spec Sheet (or Work Order) design
> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> Digital Vision is patron of the TIG.
> Patrick Inhofer supports the TIG.
> Colorist Directory at http://tig.colorist.org/wiki/Category:Colorist
> I've been asked by a friend who is starting his own on-site grading operation for suggestions on what to include as fields to be filled in on a Specification Sheet, that would be submitted by the production company. I was wondering if anyone here could share their idea of the ideal Spec Sheet, that would specify, for example, source and target format, resolution, bit depth, and final deliverable media.
> Thanks in advance for any help.
> Rob Lingelbach Colorist, Dolby Laboratories
> rob at colorist.org http://rob.colorist.org
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