I can’t stay quiet anymore, I have to scream!
I’m a member of a number of colour grading groups on the net and they vary from the great, LGG, to the unbelievably bad.
I made a comment a long long time ago that the way to tell who was a dailies colorist was to look for the white stick and the dog.
It seems that now everyone is a colorist and most of the so-called colorists are either color blind, partially sighted or completely blind.
I see examples posted online asking for comments, I have refrained so far.
My only comment would be “go and find an optician!”
Guys, you need to start with a good image. If after loading your work into your software of choice ( usually Resolve) set the workflow to ACES and use the relevant IDT & ODT. If after this your work doesn’t look pretty good you have fucked up the shoot! go and start again.
Great grading has to start with material the colourist can work with, yes a really good colourist can rescue crap work but there are limits.
If you give them good work to start with…
Please notice I am saying that you should give your work to a good colorist, not that you should do it yourself.
If, for whatever reason, you end up doing it yourself then shoot it right and don’t do a lot in grading.
It seems that everyone using grading systems for the first time finds the 11 setting before anything else!
I am so fed up with seeing oversaturated images with crap skin tones and weird contrast. Learn to do it right first. Don’t use the “I am an artist” excuse to cover up bad work.
Digital Cinema Cameras Full resolution EXR files
These are links to ZIP folders of one EXR frame per exposure +/- 4 stops
The EXR’s were generated by the manufacturers own software, with the exception of the Varicam which was done in Resolve as they don’t have their own software.
They are VERY large files. Most are in ACEScc space, if not it’s because the manufacturers didn’t specify anything other than ACES so the may be linear or log.
ARRI Alexa SXT
Blackmagic Ursa Mini-Pro
Canon C300-2 & Odyssey
Canon C700 4.5K
RED Helium 7K
Varicam LT & Odyssey
I’d recommend that you view these on your smartphone, it’s only 10.5GB in all and each file is at least 50MB but hey! your smartphone will easily cope with that!
If you do that you’ll see that there is absolutely no reason to get one of these cameras, your DSLR is way better and your iPhone better still.
Actually, I’m thinking of doing a similar test with some DSLR’s, I’d rather eat my own leg but I feel I have to do it just to prove a point.
On the other hand, maybe I’m wrong, maybe a $2K camera is really as good as a $60K one. If you believe that I’ve got this bridge you may want to buy…
Oh and just in case… load these files into Resolve with it set to ACEScc and 4K DCI, then set the input to ACEScc and the output to 709, don’t crop the image, move around it using the positioning controls in color.
This will let you look at the full beauty, or horror, of each file.
Yes, they all pretty much capture it all, well, a couple of horrors at the top end but you’ll find those for yourself. Now, look at the lower exposures and ask yourself how much noise and colour shift you can live with. You now have the USABLE dynamic range. Strangely enough it’s not always what it appears to be or what manufacturers say it is.
Well, I’ve uploaded QT files of all the cameras in HD and all the ones shot RAW in UHD as well.
They can be downloaded in their full unaltered by Vimeo form as well.
So how are people viewing them?
So far 606 total idiots have viewed them on their smartphones!
Unsurprisingly the Ursa Mini-Pro and the Canon C200 are the most popular however they also have the highest number of not completed viewings.
People viewing the evaluations via CML watch the videos to the end and tend to watch them at higher resolutions and download the original files far more than people going in directly to Vimeo or via other sites.
Why start viewing a camera evaluation if you’re going to give up after the first few exposures? one camera I can understand, you didn’t realise what was involved but the same person doing this on camera after camera? what kind of person does this, certainly not anyone who knows anything about cinematography. Anyway, WTF are you doing viewing them on a smartphone?
I will still go ahead and upload some EXR’s for the people who understand what their doing, precious few though it is!
We are about to start a new round of camera evaluations using a new standardised system that will allow future tests of cameras in identical conditions.
The cameras included this time are:-
Arri Alexa Classic recording to both internal QT and external raw
Arri Alex Mini
Arri Alexa SXT recording to Codex
BMD Ursa Min Pro
Canon C300-2 recording to both XF-AVC and external raw
Canon C700 recording to both XF-AVC and Codex
Panasonic Varicam LT recording both internally and external raw
Panasonic Pure recording to Codex
RED Weapon Helium
Sony FS7 recording internally and external raw
We had hoped to include the Panavision Millennium and Alexa 65 but the first is in the process of being updated and the second is just too busy in the limited quantities that are available. Both are scheduled to be included in further evaluations later this year.
The Nokia OXO will also be included partly in the “normal” tests and partly to live stream the tests for those who have nothing better to do than watch live streams of camera tests!!
Lights are from BB&S and the lens being used for all except the C200 is the Fuji 4.7 * 18 T2. We will be marking up the in-shot idents with the focal length used to produce an image size that matches “S35” with 50mm as the base focal length.
With a schedule of 4 cameras per day we will be much more relaxed than in previous evaluations and paying a lot more attention to detail.
All camera settings will be published with the results We will also transcode all the rushes into 16 bit EXR files in ACES using the manufacturers software wherever possible. If there is no manufacturers software we will use Resolve. I will also be using Prelight onset to grab frames from the monitoring output of the cameras as part of a very different test 🙂
Results will be published towards the end of July.
I must be in an alternative universe, I just can’t believe what I see and hear.
11 years ago I shot a movie digitally, it was shot in HD in true RGB and uncompressed. Each of the 3 sensors had 1920 * 4320 photo-sites that created 3 * 1920 * 1080 images. It was 10 bit log and 4:4:4 generating 447.45 GB per hour.
Now Netflix are specifying that they will only accept “4K” cameras but they’re not 4K, they’re 2K * 2K in green and 2K * 1K in R&B they’re barely 3K and that gives you with Redcode 5:1 a grand total of 189.10GB per hour. It’s not a problem of Redcode, it’s just it was easy for me to get those figures, all the cameras they accept produce similar data rates.
Now I accept that technology moves on and compression get better but 4 times the resolution and less than half the data! no chance.
The issue is that people making decisions don’t understand what they’re deciding and are swayed by marketing.
The lunatics are truly running the asylum.
I thought I’d plug CookeTV and the incredible interviews they have like the ones below 🙂
Use Experienced Crew
Getting into the business
Simple lighting, don’t make it complicated
Resolution, who gives a flying F!
This is now the 4th day I’ll be wasting bouncing from support desk to support desk.
It’s never “their problem” it’s always the other guys.
I am in the ludicrous situation of having to go to a public Internet facility to be able to log on to our list server.
My ISP Ziggo says it’s not their problem, it’s a problem with the sites SSL, so why does it only effect me and why only the lists, which are not SSL, and not the main site which is SSL?
Dudobi who run the listserver say it’s all fine.
NetworkSolutions who are the main system provider say it’s all fine.
So if everything if so fine why have our pages listed on Google dropped from 2,500 or more to 94?
Why can’t I get connected to the listserver from home?
Sometimes I just want to pop round and give them a smack, difficult when they’re in the US, UK and Netherlands.
I’ve just received notification from NLPost that they have a parcel for me from Ziggo, I expect it’s the new Modem that I don’t need but id their standard response, change the modem.
Short term it’ll cost a fortune to install fast commercial fibre and install servers here but long-term it may be the only way to keep my sanity!
Why is it in a time of great depression that most of the scripts I get for films made in and about Britain are so profoundly depressing?
I realise that they are an accurate slice of these people’s lives, they reflect current life in the North and Midlands of England.
But the audiences live those lives! they don’t need to see them coming back at them from a big screen.
In the 30’s during the great depression the most successful films were ones that took people out of their depressing and hard real lives and gave them some hope.
Maybe not even hope, maybe just a few hours escape.
Busby Berkeley, the Gold Diggers series and Foot-light Parade, just sheer indulgence and fun.
Producers, Directors, look around, the successful films in the UK are happy ones, Billy Elliott, The Full Monty, 4 Weddings, Bridget Jones.
Are they art? who gives a damn!
They entertain people and make money.
Please send me a happy script…
CML was set up for high-end pro’s and those who aspire to be in that class.
I’ve never worried about offending anyone else.
There are lots of places on the net for cinematographers who don’t care about or maybe just don’t recognise a high quality image.
I never wanted CML to be one of those places.
My recent experiences of working with post people whose whole approach to life was “that’ll do” “good enough” “nobody”ll notice” has caused me to stop and take stock.
I feel that CML has been drifting in that direction.
I realise the political and economic pressures that are on us, believe me!
That doesn’t remove from the fact that if we don’t stand up for image
quality nobody will we are “the guardians of the image” and painful though it might be at times we have to fight that fight.
Answer for yourself a few simple questions, in a world where data size
didn’t matter, where RAW recorders were tiny and cheap, where transfer times were zero, where processing power was vast WOULD YOU EVER SHOOT ANYTHING OTHER THAN RAW?
Of course you wouldn’t because deep down inside you know that compression damages your images.
Next question, bearing in mind the conditions listed above, given a choice
of a system that recorded equal amounts of RGB and one that recorded 50%G and 25%R&B and then guessed what was in the holes that that approach left behind would you ever use anything other than the full RGB system?
Of course you wouldn’t because you know that resolution and colour are
compromised by CFA systems.
Now, given that you would go the quality route every time, why are you being such chickenshits and compromising your images all the time?