The days where we could set printer lights using a simple gray card are gone. This is a chart for the new digital “raw” and “log” age.
In the old days of video, what we saw was what we got. Now, with log and raw, the possibilities are infinite. Only one of those possibilities, though, is what YOU want. Here’s how to make sure your vision is the one everyone else sees.
I’ll be showing off this chart at IBC, Sept. 7-11. Look for booth information at the end of this article.
We live in a digital intermediate/telecine world, which is wonderful as we can shoot HD and expect our footage to end up in a grading suite, where the number of looks available is nearly endless.
The downside is that the look we envisioned is not always the look that’s created by a dailies colorist.
If dailies don’t resemble the look we’ve promised then our days on the job may be numbered. The director and producer may decide that we can’t give them the look they want—the look we agreed on in advance—when the problem actually lies off set. Or, if dailies come back looking okay but not exactly the way we want them, the odds that we’ll be able to change the grade during the final online or DI is slim: directors and producers tend to fall in love with the dailies grade during the edit and often resist changing the look later.
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