As an on-set DIT you are expected to serve your DOP first and foremost. Anything that needs to go through a computer is bound to fail eventually. Dedicated devices (reference monitor, lut boxes, wf monitors) just work.
This is why we have bespoke carts and expensive gear, as otherwise there just isn't enough time. "Livegrading" is the only way to be able to do both things, offering technical info to your DOP and giving the rushes a first light grade. And this is expected to be there whenever you are not on the move. The biggest sin for a DIT is not having a picture ready on the monitor when the DOP comes. The issue is that there's very little time on set. Grading is an extra, it is not the main bit! What this means is that you should always check what's happening to your exposure/contrast whenever you make any CDL changes.Ī DIT's foremost duties on set are accurate exposure, white balance and getting the camera to work when it decides not to for some obscure reason. Also, always keep in mind (if you are coming off resolve) that Lum mixer is only a resolve thing. Then you can use the VERY limited tool set in Livegrade to achieve continuity. It's best to spend time in prep deciding on a look and creating a LUT or set of LUTs for this.
They will call back once they start receiving CDLs and you don't want that conversation to be mostly about regretting not having talked through the pipeline in detail.Īnd last, but not least, don't be too ambitious with onset grading. If you're going to do CDL then VFX has to be on the same page as you. In a perfect universe also get a dedicated WF monitor (Leader is the gold standard, Astro gets you there and is easy to source in any large camera rental place).ĭefinitely have a good chat with everyone involved regarding colour pipeline and have it all written down and agreed. Also pair livegrade with a mini recorder so you can record the log signal off camera. LUT box: I believe you're one camera only? Try and get a flanders monitor for the job, LUT box is built it. Really no comparison possible between the two.Ģ.
COLOR SELECTOR SILVERSTACK LAB PRO
Offload software: Ditch shot put pro and get a project license for silverstack.
Is the recording format and frame rate what production agreed to and consistent across all cameras.ġ. Something to keep an eye out for is to ensure that log footage is being recorded and no one is accidently burning in LUTs to the neg. Many DITs survive on sticking to primary grades to keep things CDL compliant. I would make a couple power grades before hand and don't get too fancy. These are all things you need to lock in writing before shooting begins.Īs for colour - sounds like you are set with the Eizo. What kind of footage is being shot, how long will it take to download, do you need new card readers in your chain, are you expected to be doing the transcoding, do you have a battery backup if power drops, how do you handle consumer cameras, where will LTOs be done. Make sure you have at minimum a master copy and a backup copy, one of these should be on a RAID volume. I tend to be more concerned with the safety of the footage, than worrying about setting looks.
0 kommentar(er)
