Went up to the cabin for the holiday. Did some logging.

Additionally, I read through a digital cinema and mastering textbook (well, more of a primer I think), mostly regurgitated DCI and SMPTE info from ‘07 by the chair of the DCI- it’s (as expected) a rather technical subject matter with lots of 3×3 matrices, and algebraic computations. But here are some random things I found interesting and educational:

• How young the entire digital process is as a whole- (2005/2006- most films) Implementation of digital really took hold in the late 90’s.
• JPEG2000 is the DCDM Master Codec at 12bit 2K or 4K resolution.
• The color space of digital cinema is X,Y,Z with chromaticity coordinates [0.314 x, 0.3561 y] or about 6300K
• The human eye is very sensitive to hue shifts but easily adaptable to white point differences
• 12bit encoding is needed to encode luminance changes below the threshold of luminance visibility. 11Bits is actually closer to the curve of the human vision modulation threshold. (more in SMPTE Journal 113.9, Sept. 2004)
• A gamma of 2.6 matches the human visual modulation curve relatively well (although not exact).
• That much more impressed with what RED is trying to do (4K NEGATIVE)
• 65MM highest quality scan is 6K.

Tags: color correction, color space, d-cinema, finishing, mastering, tech, video

I’m torn on these. I mean, I’m satisfied with them, at least for public consumption but not completely pleased with the look. I guess that’s always the challenge though- when to STOP tweaking.

It rather a rush job so being I’m in Ae I didn’t duplicate my layers and apply seperate masking corrections (aka: “windows”- Ae doesn’t actually window that well…or at all ) Anyway, Color Finesse’s primary and secondary adjustments only.

I hereby blame lack of windows for my lack of look satisfaction (boy that was easy.)

Outdoor Before

Outdoor After

Indoor Before

Indoor After

Tags: after effects, color correction, color finesse

I can’t really think of anything to prep this with so here’s some random thoughts on the Cairo post-production.

• Si-2K/Cineform workflow was really easy. The network connection freaked a couple times to the Cinedeck so the clip didn’t close out properly, but SI has a utility to fix that so no issues
• You need a really good lens for the SI. Nobody’d really tried what I was doing so there was no information on the EF mount for it. I took a risk and it didn’t work out so in a pinch I used primarily the Sigma 10-20…it was all I could get my hands on. It wasn’t good…obviously.
• The Ziess 50mm is really soft. I ran it F/1.8 but it didn’t sharpen up until around 2.2 or so. Back focus issue? I don’t know anything about that. The images weren’t as sharp as I wanted.
• The SI/Cinedeck Extreme color was dead on accurate to reality.
• The T2i color, even with the profile set way down was harsh, forced and well, colored improperly.
• 10 bit is the way to go. I don’t care how awesome your 8 bit camera is; 8 bit sucks balls in post. Not to mention you have banding and absolutely no gradients (comparatively speaking). Budget might keep you at 8 bit though and that’s understandable.
• I’m really bummed I don’t own the SI2K/Cinedeck combo. Financially it doesn’t make sense right now although I’d use it for absolutely everything.

…and speaking of color. Here’s a selection of before/afters on the first Cairo short:

Tags: cameras, cinedeck, cineform, color correction, documentary, SI2K, workflow