[Tig] New "Look" or not?
carl at stopp.se
Thu May 3 10:15:59 BST 2012
Thought I'll put in a comment on this.
For me it all started back in the days of Sony 750 and 900 cameras. You
know, the good old fashion HDcam-Camers.
I noticed that when people had shot on 'video' and then came back to film
some wanted to 'prove' that it was shot on film and therefor wanted a
flat-look since that wasn't possible if it was shot with crushed blacks.
But that went away quickly.
Then when people started shooting Alexa and since it such an easy workflow
(shoot Prores and ingest into FCP) more and more productions are editing in
And if the flat and boring LogC-look if all the agency, client and even
director/DoP ever seen during the shoot and edit. Then they sometimes get
'scared' when I start by adding contrast. Because they got so used to the
look from offline.
I guess one good thing for an AlexaRAW workflow is: they HAVE TO create
dailies in order to go into offline.
And if someone is doing dailies from .ari they would most likely (at least)
apply a Rec709-LUT. So at least they wouldn't get used to the flat look.
It also reminds me of the very first attended onelight I did when I
Director and producer sat with me for half a day to do the onelight (~40min
material, I was slow at that time).
Then they went to offline for a week.
When they came back for the final grade they of coarse brought a VHS of the
edit so the colorist could see it.
The whole day the director for referring back to the offline saying ' I
kind of like that look'
An in the end he accidentally said 'can we have a look at the
grade-reference on the VHS?'
In the end in online he actually did the Directors Cut from my onelight of
a BetaCamSP :)
That was the time Mr Wells thought me never to do a 'too good onelight'...
The client should be happy after the final grade, not referring back to the
So I suppose red, blur, green, contrast or not doesn't really matter. If
the client has got used to a look for too long it's hard to prove him wrong
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