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    DP on a friends short film, would like some advice.
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    So I normally DP my own work, so I shoot how I want and like. He is requesting that he wants to do no color correction or grading. I am using a c200. He even said as much as he doesnt want to apply a lut in post either which I dont understand that mentality. I told him RAW is out of the question.

    My thought is to shoot 8bit with the Wide Dynamic Range color profile baked in and then expose each scene how it would look after doing post adjustments. What I mean by that is exposing for final look in camera instead of exposing to the right for every shot and bringing exposure down in post.

    Again I am not sure what the issue with post work is in terms of color but we got into a slight argument where he said he is the kinda filmmaker who wants the look shot in camera with no post coloring and I mentioned every film does post coloring wether its grading or just simple correction.

    Normally id expose to the right and them bring down in post and add a lut/make exposure adjustments in post so everything matches. I have been reading about exposing a scene the same in camera and have a question if i shoot my wide at F4 but my close ups at F1.8 I just compensate my lighting amount and or ISO to make the expsoure match the wides?

    I am just so use to exposing each shot in a scene as bright without clipping then color correcting exposure in post to match. Please enlighten me as this is not my project and I am not editing.


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    How you expose is how I expose with RAW and that's considered lazy (and some think incorrect), but it's super easy, ha.

    If you don't have the luxury of doing that, you'd use your camera's tools to stay consistent with chosen exposure (or a monitor/recorder with certain features or a light meter). And that's an entirely different conversation.

    And if it's a complicated project with money spent, you really need to convince him that RAW is worth it and he's making a mistake. Ideally, you'd be able to shoot RAW onto the CFast cards and shoot WDR onto the SD cards, but not sure if that's possible.


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    I guess it’s all in how you want to work and how you’re used to working. I get “exposing to the right” and bringing it down in post to have cleaner shadows, but to me it kind of seems like making a mountain out of a mole hill, because 95% of what I shoot is (still) done in-camera. Not that long ago we didn’t have log and RAW and what could be done in post even in 6-7 figure edit suites was very limited compared to what you can do with free software on a $1k laptop today. You didn’t just get it close, you got it right, because a lot of times it was going to air in a few hours max. I’ve even shot feature pieces that had 24+ hour turn-arounds and there was no time for color correction/tweaking. And I’ve also shot pieces that had plenty of time and we shot log and it didn’t look one bit better than what I could have given them in-camera, because it looked like a run-of-the-mill 709 look.

    I guess what I’m saying is, I get it. And I get it on both sides, but doing it in-camera is where I came from, so it’s no big deal to me.


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    SO who is directing the photography? you or him?

    If you are an operator, take the camera set as the DOP presents it (settings codec), and choose the Tstop and shutter angle he instructs.

    If you are the DOP, then you have to communicate with him the producer about the best post workflow for the project.


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    Quote Originally Posted by NorBro View Post
    How you expose is how I expose with RAW and that's considered lazy (and some think incorrect), but it's super easy, ha.

    If you don't have the luxury of doing that, you'd use your camera's tools to stay consistent with chosen exposure (or a monitor/recorder with certain features or a light meter). And that's an entirely different conversation.

    And if it's a complicated project with money spent, you really need to convince him that RAW is worth it and he's making a mistake. Ideally, you'd be able to shoot RAW onto the CFast cards and shoot WDR onto the SD cards, but not sure if that's possible.

    Good to know I am not alone, he is not technically inclined like I am in terms of Camera and codecs and luts so I was having a hard time explaining to him that color grading and correcting is usually a necessary process and he knows it is MY process(we are good friends). I am totally open to doing in camera and learning a new method because that is just how I am, though I am trying to learn up a bit on doing it this way so it is not as much of a learning curve on set.

    The project is no budget so no worries with money. I do have a light meter i have never used so maybe it is time to do that, but also have wave form on my camera so I will use that as well to keep exposure consistent. I guess we will just do 8 BIT in WDR and expose how he wants it to look in the end.

    This is not a paid gig or anything merely good friends working on projects together, he is probably editing or may hire an editor he knows. This project is so thrown together that there are no for sure things in terms of post. He worries if he passes it off and we shoot raw the editor he knows wont know how to work with the footage or be able to handle files ect. So like I stated I think best bet will be to light and expose for the final image on set and let him know he wont have a ton of latitude if he does want to push things after the fact.


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    Sometimes people just do not know any better and if money isn't involved (meaning you're not listening to someone who is paying you to do something how they want it to be done), I would personally still shoot RAW and transcode the footage/provide him ProRes files (I guess unless Windows is involved possibly further complicating the process since he would be choosing the editor).

    I know the C200's XF-AVC or MP4 isn't the end-of-the-world, but it would be such a shame to not shoot CRL with that specific camera. Like this isn't some contest who can get the best looking film straight out of the camera.

    And you don't necessarily have to ETTR like you have been doing. If you have a monitor that is capable of loading LUTs then you can monitor with a chosen LUT so there are no surprises and he would receive what was shown on set (but you'd still have RAW files for emergency grading).

    What if the project comes out really well? Wouldn't you want that RAW for the master or a re-master?

    Maybe show him this video and see if he changes his mind (a must watch for any C200 owner): https://www.youtube.com/watch?v=jxnWBFne7IE


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    I totally agree with you...here is the issue. I told him we could shoot RAW and do Proxies and that we could pick a LUT he likes and expose for that on set. He literally said he does not want to use a LUT. I plan to talk to him again but I do not think he is comprehending how RAW works and how some sort of LUT or correction is needed. Granted the pocket 4k can bake in the luts eliminating that extra step, I do not see why it is such a big deal for him.

    He wants to get 75% of the look in camera, which is fine with me but you HAVE to shoot with a LUT in mind in order to do that, you can not shoot and expose on set with just the log image, some post work is required no matter what. He seemed to like the WDR concept and shooting 8bit, but he is not realizing that WDR is essentially a basic lut in and of itself. The process of adding a LUT in post is so easy and simple. I appreciate all the help here, Maybe I will show him this forum topic so he understands I am not alone here.


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    I have never heard of a film or shortfilm where no coloring was done on.


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    I know you're referring to modern-day work, but even so sometimes stuff in the 90s (digitally shot) looked like it was straight out of the camera, especially on television.


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    Quote Originally Posted by peter917 View Post
    Good to know I am not alone, he is not technically inclined like I am in terms of Camera and codecs and luts so I was having a hard time explaining to him that color grading and correcting is usually a necessary process and he knows it is MY process(we are good friends). I am totally open to doing in camera and learning a new method because that is just how I am, though I am trying to learn up a bit on doing it this way so it is not as much of a learning curve on set.

    The project is no budget so no worries with money. I do have a light meter i have never used so maybe it is time to do that, but also have wave form on my camera so I will use that as well to keep exposure consistent. I guess we will just do 8 BIT in WDR and expose how he wants it to look in the end.

    This is not a paid gig or anything merely good friends working on projects together, he is probably editing or may hire an editor he knows. This project is so thrown together that there are no for sure things in terms of post. He worries if he passes it off and we shoot raw the editor he knows wont know how to work with the footage or be able to handle files ect. So like I stated I think best bet will be to light and expose for the final image on set and let him know he wont have a ton of latitude if he does want to push things after the fact.
    Honestly, there is no learning curve. If you're baking in a look, it literally is as easy as What You See Is What You Get. If it looks good in the monitor(presuming the monitor is correct), then it looks good. It's how I shot with Betacam's, F900's and VariCam's and it's still how I mostly shoot(prob 90%+) with C300's, F55's and Amira's. Pretty much every modern camera can produce great results in-camera.


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