THE ROLE OF THE COLOUR SUPERVISOR ON SET
and you’ve got to have some form of intermediary space. ACES is already designed for the job. It does have nuances that are being worked on for ACES 2.0 with the industry iterating on that. You might have to fudge the areas where it doesn’t work, but at least everyone knows the protocols.
AS ACES is recognised by all of the streaming
companies and it is the easiest way to make sure that there are not going to be any surprises and anyone joining the party late – because that happens – is not going to have a problem with it.
TM If you make something up, you are
responsible for every single stakeholder getting it right and all too often they don’t get it right first time.
Paco Ramos (PR) We are always very wary
of what the required deliverables are at the end. The reason we’d go for ACES is that it is the largest container; it’s a non-destructive framework that gives us the flexibility for future change.
Test it. Speak to the colourists. Speak to anyone who will follow after the work you do Paco Ramos
BEST PRACTICE HDR ON SET PR If Asa has set a look for a particular show and
we’re going to do the dailies and DIT, as colour supervisors we make sure that the LMT (for ACES) or the LUT is applied correctly across any device or camera. Sometimes a production starts with a single, well-defined camera source but later on they might add a secondary camera; a B Camera or C camera or even a GoPro to get a single shot. We take care to make sure all of those cameras tie into the workflow correctly. And if there are LUT boxes we make sure they are applied correctly. We are there to be the technological partner of the DoP. The DoP might want several looks or LMT. We
have to adjust for that and it will have an exponential impact on what we need to If there are two or three
cameras being used we will have to apply twice or three times as many LUTs to all devices. With Leader scopes we can activate an HDR
mode that can help DoPs and DITs make informed decisions while they’re crafting their images on set. If I’m delivering a Dolby Vision master I can choose PQ and set the upper limit of the reading of my scopes, which is generally the region up to 1,000 nits (as you find on a Sony HX310). This is the region I want to analyse and set reference levels – for example, the recommended level of 203 nits for diffuse white. With false colour mode on the scope, anything
that goes beyond 203 nits is displayed in a blue through to magenta colour pattern, depending on the nit value. This helps DITs and DoPs define how they work with exposure over diffuse white while on set. I recommend that you develop an eye for
HDR imagery – the critical eye you already have for SDR - to analyse the pictures you’ve shot with your colourist and go into the grading suite and see how the waveform is displayed and how the signal is represented in HDR. That would help define different levels of diffuse white or a different threshold for peak brightness depending on the story you want to tell. You really want to highlight issues that might
come up later for the VFX team or the colourist would need to take care of. If you do that in SDR, you wouldn’t know what’s going on.
PORTABLE 4K HDR MONITORING Sony The PVM-X Series monitors utilise a 4K premium LCD panel with a wide colour gamut, high luminance, high contrast, fine grey scale, wide viewing angle and great uniformity. Sony specified the panel to achieve 1,000 cd/m2 luminance and 100% colour gamut coverage of the BVM-HX310, an industry-leading master monitor. This feature provides a consistent HDR colour pipeline from on-set right through to Post-Production. All stakeholders involved in a project
can share a common view and a common understanding of content colour and tone even though they may be working at different times and in different locations. This allows everyone involved to communicate with each other more smoothly than before and helps ensure a more efficient process across the production chain. Find out more about Sony’s Digital
Cinema Workflow Solutions at
pro.sony/rewrite/on-set-production-workflows
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televisual.com Spring 2021
PORTABLE WAVEFORM MONITORING Leader Leader’s LV5350 portable 3G/HD/SD- SDI waveform monitor is ideal for on-set production. It has a 7-inch full HD colour LCD screen in a compact 3U half-width 19-inch form-factor. The LV5350 can be powered from AC mains or DC battery. Operation is easy and intuitive. The LV5350 features Leader’s
comprehensive range of measurement tools, including Cinezone HDR real-time false- colour picture analysis. 4K-UHD 12G and 6G single-link connectivity is incorporated. Production staff gain the same monitoring capabilities on-set as their colleagues are using in post-production. The LV5350 waveform display can
simultaneously be viewed on a larger external monitor via a 3G-SDI output, thus allowing monitoring of HDR im-ages on an HD-SDR screen.
www.leader.co.jp/en @TestLeader
Grading is a reductive process so it’s always better to go down from your original clay to a model and then you fine out the details. You don’t want to be putting lumps of clay back on for something that looks like a Frankenstein Tom Mitchell
SEEING THE LIGHT PR There’s definitely now a demand for dailies
in HDR and platforms that can deliver some of those files. The majority of work is still in Rec 709 but HDR dailies are going to start picking up.
AS There can be issues when clips come
together because of changing weather and light that become very, very apparent in HDR. Of course, we want editors to go on performance but if there are a couple of options when they’re cutting - clouds are coming in and out, lighting changes on a train, wherever it might be - it would be great if they were able to adjust for that. Those editors that I’ve worked with who have had HDR
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