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Working/viewing RGB LOG DPX from film scans

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Michael NicholsWorking/viewing RGB LOG DPX from film scans
by on Jul 19, 2009 at 3:09:24 pm

I am revisiting this subject because I feel like I still don't have the answer:

My DPX files are from an arriscan. When viewed with gluetools, a LOG/LIN conversion is done, giving the files a more saturated, contrasty look.

In Color, if I view the files with the Film Printing density (95-680), it looks the same as the log/lin gluetools conversion. SHOULD I work like this? As in grade the footage using this printing density, render and bake? I am not going back out to film. HDCAM SR is going to be the master (aside from my digital master).

I was told to just keep the footage at 0-1023 and grade from there, but I find that my grading mostly gets me to the place that the 95-680/Film setting starts me off at!



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Joseph OwensRe: Working/viewing RGB LOG DPX from film scans
by on Jul 20, 2009 at 4:52:28 pm

Its just a remap anyway -- which is part of the Grading process. Unless you start crushing things out and after all this project is going out to tape - linear- why not?

jPo

This IS my blog!


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Michael NicholsRe: Working/viewing RGB LOG DPX from film scans
by on Jul 20, 2009 at 5:10:04 pm

[Joseph Owens] "Unless you start crushing things out and after all this project is going out to tape - linear- why not? "

Excuse my denseness Joseph..."Why not?" as in "Why not Mike! Go ahead and use the film printing density to remap the black and white points as a base for your grading!"

Just want to be sure!

Thanks JPO!

Abel Cine Tech - Rental Coordinator
We now have Red and SI-2K in our Rental Fleet!
212.462.0163 • mnichols [at] abelcine [dot] com


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Joseph OwensRe: Working/viewing RGB LOG DPX from film scans
by on Jul 20, 2009 at 5:51:46 pm

Its not like there is a section of the Stasi dedicated to ferretting out people who don't always do things in a totally conventional way. Excuse me, there's somebody knocking at the d....

Seriously (and this is not a member of the secret police typing this while Mr. Owens has been relocated to a 're-education camp')
If your OCN was scanned dpx in a LOG mode, then choosing the LOG transfer only re-linearizes the image, and if that one adjustment gets you most of the way to where you want to be, then that would appear to be the way to go.

If this project really was slated to go back to film... then leaving the map at 0-1023 would be wisest. View the output on a LUT-mediated linear display (while you continue to actually work in LOG in the background). You would be delivering a LOG file to your filmout agency, where they would handle it accordingly and you would get a nice linear film output.

jPo



This IS my blog!


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