I am in the pre production of a film with many variables and I am setting my worflow with the post house and wanted to ask peoples opinoin on the following which is really important for me, so thanks in advance for your time.
My issue is the following. I done a similar process before in different ways but last time was really unhappy for the following.
I shot in s16mm (in Chile) had a low con pass made in canada and when the master's low con HDSR tapes got back the low con was all over the place. Scene which i had on purpose overexposed areas were pull back to get info in the highlights but the blacks were crashed so in the timing sesion i had to bring things back up and got this brutal grain and lack of detail in the shadows and some artiffacts...
I want to avoid this in the low con pass and I am figuring out a way to do it and my question regards that.
The base specs of what I am doing:
s35mm 3perf - 2.39 aspect ratio and some 4 perf maybe for b-unit and hand crank(may not be able to get two 3 perf)
Telecine Low con Pass to HDSR (production deciding on HDSR final master or 2k depending of it gets theatrical distribution)
Dailies will be graded from the HDSR Low Con Master in Scratch or similar.
I am sending the colorist digital stills which will be graded to the final look (based on camera test and matching my DSRL). We will come up with matching LUTs for my photo editing software that will match what the colorist is using in Scratch. I do micromanage but the stills will be a reference if anything is off. (Most of the look wil be done in camera as much as possible anyway).
My cocnern is setting a process for the low con and have been looking into things but here is where i need some help and opinions.
Beside sending notes and talking with the low con people what is your advice?s there actualy a way to set a predetermined transfer setting?
I am looking into charts etc and gona make a three part test.
The first one is the basic one (as if i was finishing on film) of shooting differente exposures to see the range and then printing back to see where i want my printer lights (getting actual prints for this) and with that same test go through the low con and color timing stages. There as well I will set the settings of my DSRL camera and printing options.
Based on those results come some more tesst but are directed to lighting, art makeup etc.
Being researching and talking with epople but there is not a predetermined way to set the low con (and maybe is not the smartest idea) as when you are shooting for optical finish and you know your printing lights.
Any thoughs would be great. recommendations on what charts to use for the low con etc as well.
Thanks you very much!
Controling the process issues....
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