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Re: ASC CDL worflow with the Alexa camera

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Oliver PetersRe: ASC CDL worflow with the Alexa camera
by on Apr 22, 2011 at 11:28:46 am

Yes, I would presume TV show and feature DPs are picky. They have been in my experience. These projects go through more hands and they are concerned about everyone applying their own oddball correction on the image. In my case, these projects are commercials with DPs and clients who know and trust me, including for color correction. These DPs are no less picky, but there's more familiarity with each other.

There are two straight forward, low-cost approaches. The first is to use the Nick Shaw plug-ins and bake these into files that are then used for offline. The second is to dual-record. Go Log-C to the SxS cards in camera and Rec.709 out the SDI port to an external recorder for offline.

OTOH, I also see complaints from DPs (especially on RED jobs), where the in-camera looks are simply used and rendered and then subsequent color correction is done on top of this. In the case of RED, they will often create a look on set as a "suggestion", which isn't intended as the final.

Since I have a long history with post on film-acquired jobs, I view the 'color-correction for editorial' issue as the same as a one-light film transfer. It's just a temporary, neutral grade that isn't intended to be the final look.

However, the issue would be easily resolved if ARRI simply released a set of plug-ins for all the major NLEs that provided a Log-C to 709 conversion. That's what Nick Shaw's do, except that his aren't officially authorized or engineered by ARRI. They are his own curves.

- Oliver

Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com


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