CC your footage
Posted 22 April 2008 - 08:44 PM
Posted 22 April 2008 - 09:04 PM
Posted 22 April 2008 - 09:34 PM
Posted 23 April 2008 - 01:17 AM
Personally the last couple of things I shot, we transferred the film to D5 HD tape flat to protect as much information and then once the footage was cut together I did the color correction myself on an Avid. The only reason I did it this way was because the budget was ridiculously tight and there was not enough money to do a scene to scene color correction in a professional suite with a professional colorist charging several hundred dollars per hour. If there were more money I would have absolutely gone with an experienced colorist. It would have been well worth the money.
A good colorist is a privilege and an invaluable collaborator. Sure, I know how to use scopes and basic tools and can do decent color correction myself if I have to, but this doesn't even come close to the skill and finesse of someone who has been doing it for many years and is an expert at what they do. They can also work much faster because of their experience and can have great ideas as well. They are also working with calibrated equipment and hopefully a room designed specifically for color correction with the right lighting and painted tones on the wall for more optimum viewing conditions. If you are working with the negative, there is much more options and dynamic range to work with because changes can be made from the film chain before going to tape or disk.
I think Rich's argument is that the Cinematographer has more control when doing it him/herself, but I would disagree to a point. If the cinematographer is supervising the color timing and discussing with the colorist what he/she wants and is clear about his/her intentions, then the Cinematographer has more control because the colorist can make this look happen. Cinematographers can be as specific as they want to be, it shouldn't matter that someone else more experienced with the controls is physically operating the machinery. Of course if the cinematographer is not present or not involved with the color timing, then it becomes difficult maintaining the intended look.
I sometimes hear Cinematographers discuss the difficulties of working with a director who wants to control everything to the detriment of the film. I too have dealt with directors like this. Instead of being a collaborator and drawing from the talent of their crew, they tell everyone, including the cinematographer, how to do their job, or even try to do their job for them (grabbing the camera from the operator, going straight to the gaffer and telling them how to light a scene without discussing with the DP, etc...) An experienced director knows that he/she can't do everything and that's why he/she hires people who specialize in different things.
I think the same should be true for cinematographers. Great cinematographers know ALOT and bring a high level of expertise to projects, but a major part of what makes them great is their crew. They surround themselves with good, creative people, like gaffers, key grips, and even colorists and they know how to communicate with these people. These people can work out the technical kinks and allow the cinematographer the time to step back and think about the image and the story.
Posted 23 April 2008 - 02:20 AM