BEST PRACTICE HDR FOR HETV
further down the line. Best practice would be to start with one LUT or LMT and then make corrections during the shoot or, if you need to, just a couple. The first step I like to do is work with the cameras
and lenses, shooting in different environments and then have this prepped ahead of your hair and make- up tests so you know what cameras and lenses you’re going to use, you know what colour pipeline you’re working to. And then you can use these hair and make-up tests almost as your dry run for shooting. You can review these again in the DI theatre or suite with the colourist and use it to make any final adjustments to your colour pipeline, your LMTs or your LUTs. Ideally you would have both preliminary tests and
then second tests, going back and forwards reviewing and checking material on set and in the DI suite.
A COMMON UNDERSTANDING Joshua Callis-Smith
Chief Technical Officer Cinelab London
overexposing, how much can you overexpose the image. And how far can you underexpose it, how far can you push it before you see the noise plane. Traditionally with a digital cinema camera you’re
compressing it down to six or seven stops which gives you a lot of fudge room. You might be crushing some of those blacks and significantly crushing the highlights. If you’re working in high dynamic range everything stretches out and that includes the shadows. The shadow of a desk in a standard dynamic range scene might look black, in HDR you can probably see the texture of the carpet. In the prep room, you’re ideally referencing a
mastering monitor. That’s what we ultimately want to be viewing the material on. You should ideally have scopes as well to see where everything sits, but there’s nothing like seeing with your own eye and having a perceptual understanding of what’s going on. You can see something in a scope, but you can’t relate to what that might be or why it might be a problem. The image has to come first. You can see headlights that are overly blinding and distracting from the actor in the foreground. You see it and you know it. It’s instinctual. Back at base we use the Sony BVM-HX310. We have quite a few of them for our mastering and
Callis-Smith is an in-demand DIT and dailies colourist with recent credits including Fantastic Beasts and Where to Find Them 3, Rocketman and The Electrical Life of Louis Wain, as well as workflow supervision for Netflix shows.
some client level consumer TVs as well to see the comparative.
DW We’ve got a combination. We have quite a lot of Sony BVM-X300s and we use HX310s from time to time. We have some LCD panels as well. Both the 300 and the 310 are our monitor of choice and the only reason we don’t have more of them is because they are a significant investment.
Joshua Callis-Smith (JCS) At Cinelab we have the HX310s. They are the go-to for mastering and checking all of our live content against. One of the key things with any colour pipeline
is consistency. It is better to start with the finishing house and your DI to set the look. Ideally, we’d shoot tests with as many different cameras as being used and we’d shoot different light scenarios and locations if they become available and then review them in the best environment possible. Ideally on an HX310 or an X300 and from there we’d be creating LUTs or LMTs within an ACES pipeline. It’s always good to start with only a few LUTs or LMTs because if you start with lots of these, it becomes a lot harder to track the post production process and makes it more complex
TM It’s always better to bring the post production and VFX company in as early as possible. They are an incredibly valuable resource. But sometime the reality is that they don’t get brought on board soon enough and you end up in a room with different entities needing to feed in data or receive data throughout the workflow but with no captain of the ship. Someone needs to put their hand up and say “I’m going to take control of this and manage this” or you end up with multiple chefs in the kitchen and this can cause massive issues later on when you’re unpicking it. So, we have created a department that manages all of the workflow elements and specifically managing the colour pipeline. We build workflows and then distribute them to all the different entities and stakeholders. So, when post comes on board, they know what was designed, what was made and what was expected to be delivered. We try to work to industry standards like ACES and then you know that the post company will be able to work with your pipeline and be able to adapt to that workflow.
JCS There needs to be someone who takes ownership of the colour pipeline and establishes a clear communication of that across all departments. Whether that’s done at the prep stage and managed by the DI company or whether that’s handled by the dailies or VFX company or the digital imaging company, but someone needs to take responsibility. Ideally that would be the DI house where we figure out what the deliverables or the finishing environment and we work backwards to the shooting environment. The principle is to have all of the monitors and workflow set up in the correct way, so we can reproduce that imagery in the same way across all of the platforms and be reproduced across on-set, VFX, editorial and in the DI.
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