[Tig] film

Craig Leffel craig at optimus.com
Mon Oct 8 17:11:07 BST 2012


Haha !!

Well, I suppose - but because they can see it as they shoot it, the chances of fucking it up go way down. Luckily, we haven't experienced any of that on my sets....

CL

______________________________
______________________________

Craig Leffel
Director of Production
One @ Optimus

312.276.2430 w 
312.208.9902 m

161 east grand ave.
Chicago, IL 60611
312.321.0880

On Oct 8, 2012, at 8:36 AM, Tom Rovak <trovak at comcast.net> wrote:

> And there is no such thing as "underexposed, overexposed, milky, overly filtered, poorly lit shitty" digital capture?
> 
> Tom Rovak - Sr. Colorist / Post Production Supervisor
> ROVAK COLORIST SERVICES
> Commercials, Feature Films, Music Videos
> trovak at comcast.net
> (815)690-8323
> Website / Commercial Reel: http://colorist-rovak.com/
> From: "Craig Leffel" <craig at optimus.com>
> To: "Martin Wells" <colourblonde at gmail.com>
> Cc: tig at colorist.org
> Sent: Sunday, October 7, 2012 10:50:15 PM
> Subject: Re: [Tig] film
> 
> Sohonet www.sohonet.co.uk sponsors the TIG.
> Support from Digital Vision www.digitalvision.tv
> Support from Blackmagic Design www.blackmagic-design.com
> =====
> 
> I don't miss film at all. In our Production arm that I run, we haven't used it in 2 years. Only Red, Alexa, C300 and 7 and 5D. 
> 
> For all the pretty, nostalgic, artful film I worked on in 25 years, there were also hundreds of hours of underexposed, scratched, milky, overly filtered, poorly lit shitty film. 
> 
> And I would counter that for every Dp that swore they understood cameras, stocks, etc. So many of them had no idea what a +4 really did, what their shitty exposures really meant, or what it meant to expose for TV versus Film projection. As colorists we, whether asked or not needed to bring life to their images. Over and over.
> 
> My contention is that had they actually been able to see what their cameras were capturing - they'd be able to adjust. With knowledge and not assumption. Digital capture makes it so that even those that thought they knew what was up can now see what they are actually doing... Instead of a shitty video output that had nothing to do with actual exposure. How many clients have you sat with that we're amazed what it looked like on set, and just don't understand what the problem could possibly be? Problem ? In the colorist's lap. Answer - as talented as the colorist is or is not. These days, I'll totaled a Red Camera or an Alexa any day, and let me be free to do my craft instead of fixing issues caused by Mis-information, dis-information, poor education, ignorance of fact, willful ignorance or lackluster work ethics.
> 
> I've never been one to kiss Dp's asses, as I've been one. It takes knowledge and effort to learn. It never stops. the day you walk around expecting everyone to kiss your ass because you can light and expose properly is the day a new camera and lights are coming out. Trusting what you read, were told, or what the AC says just doesn't cut it.
> 
> I love meeting new Dp's and educating them about digital capture. The really smart and talented ones get it and keep an open mind.
> 
> CL
> 
> ______________________________
> ______________________________
> 
> Craig Leffel
> Director of Production
> One @ Optimus
> 
> 312.276.2430 w 
> 312.208.9902 m
> 
> 161 east grand ave.
> Chicago, IL 60611
> 312.321.0880
> 
> On Oct 7, 2012, at 9:23 PM, Martin Wells <colourblonde at gmail.com> wrote:
> 
> > Sohonet www.sohonet.co.uk sponsors the TIG.
> > Support from Digital Vision www.digitalvision.tv
> > Support from Blackmagic Design www.blackmagic-design.com
> > =====
> > 
> > I've recently moved back to Toronto and to my surprise, everything is shot on video. When I say video, I mean red, alexa, hdcam,C300, 5D, 7D, GoPro, etc.
> > 
> > My question is this.. Does anyone miss the film days? I don't necessarily mean dealing with film and all the stuff that went along with that but I mean dealing with people that knew what the consequences of dealing with film was.
> > It seems to me that more times than not, I deal with cameramen that have no idea how to light a room, what a white balance is or even how to keep a constant light within  a scene. Surely, it must be easier today due to the simple fact that they can look at the monitor directly after shooting the scene and say yes... or no...
> > 
> > I seem to remember that d.o.p.'s of the past gave a shit. Maybe I'm just getting old and a bit bitter but it does seem to me that now any Larry and their brother can pick up a camera and call themselves d.o.p's.
> > They're not..
> > I personally think they are merely cameramen. I think true d.o.p.'s are a rare bunch. I have worked with a few but very few.
> > 
> > I do my best to make any pile of crap look like a diamond but at the end of the day, if it starts out brown, it's very difficult to make it gold.
> > 
> > Am I alone?
> > 
> > 
> > Martin Wells
> > colourblonde at gmail.com
> > 
> > 
> > _______________________________________________
> > http://reels.colorist.org
> > http://tig.colorist.org/wiki3
> 
> _______________________________________________
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