Who's really incharge of Color Correction?
- Thread starter abalex
- Start date
Tom Marshall
Actor!!!!!!
DP should definitely have a say in the CC process. He's the one responsible for the look of the film from every phase.
DBoz699
Veteran
It depends if the Director tells him or not.
The Director can't be in charge of EVERYTHING that happens on the screen. That's why are other people working and putting their creative minds together with the Director's. The DP probably CC's a few different ways that goes along with the lighting, and the Director would just approve of it.
The Director can't be in charge of EVERYTHING that happens on the screen. That's why are other people working and putting their creative minds together with the Director's. The DP probably CC's a few different ways that goes along with the lighting, and the Director would just approve of it.
JasonFox
Internet Sensation
What kind of project is it? In the ad world, I've never had a DP in telecine, but almost always the director. Granted, half the directors we used were also the DP, so there's that.
But really, this is a discussion for the director and DP to have. You don't want to have the DP come down and CC some stuff only to have the director show up the next day asking why screwed up the color.
But really, this is a discussion for the director and DP to have. You don't want to have the DP come down and CC some stuff only to have the director show up the next day asking why screwed up the color.
Spartacus
Veteran
If we are talking CC, like matching different shots or correcting slight exposure faults, I´d say this is part of the post crew.
But if you mean grading, giving the picture a distinct look that´s another story: maybe the DP shot a scene rather flat (maybe to avoid noise in dark/gray areas), knowing that he´ll adjust contrast the way he sees the scene in post?
Maybe he wants to add color to the shadows to enhance the mood he was going for?
This doesn´t mean he should do it himself and mess with your system, but he should have a say in the process...
My 2c...
But if you mean grading, giving the picture a distinct look that´s another story: maybe the DP shot a scene rather flat (maybe to avoid noise in dark/gray areas), knowing that he´ll adjust contrast the way he sees the scene in post?
Maybe he wants to add color to the shadows to enhance the mood he was going for?
This doesn´t mean he should do it himself and mess with your system, but he should have a say in the process...
My 2c...
No. The editor must have the time to complete the editors cut and then present it to the director. When the EDIT is complete then it's time for CC and like others have said, the Director should make the call as to who he wants to be there for the CC sessions.
j
Veteran
It looks like you are not going to get a consensus.
The DP is responsible for the look of the film from prepro to the screen, and these days the means DVD, internet, TV, et al. Most DPs want to be involved, however most producers will not pay for that, or DPs are often booked on other shoots. I often make myself available for telecine, or post correction at a half day rate as a compromise and incentive for the producer.
If the DP wants to be involved, then by all means he should be allowed to do so. The look is set up by the DP, and it makes no sense that the editor should change that vision. That is the whole point of the Kodak previs system, and the Gamma And Density system.
http://www.gammaanddensity.com/
The DP and Director should be on the same sheet of music, if however there is a conflict, go with the directors instructions, he is always the top dog.
The DP is responsible for the look of the film from prepro to the screen, and these days the means DVD, internet, TV, et al. Most DPs want to be involved, however most producers will not pay for that, or DPs are often booked on other shoots. I often make myself available for telecine, or post correction at a half day rate as a compromise and incentive for the producer.
If the DP wants to be involved, then by all means he should be allowed to do so. The look is set up by the DP, and it makes no sense that the editor should change that vision. That is the whole point of the Kodak previs system, and the Gamma And Density system.
http://www.gammaanddensity.com/
The DP and Director should be on the same sheet of music, if however there is a conflict, go with the directors instructions, he is always the top dog.
Andrew Brinkhaus
Veteran
Like everyone here has mentioned, DP's are almost always there for timing and grading, something that takes place only under his supervision, as he has constructed the entire visual plan of the film. On a professional gig, the job of CC'ing (which means adjusting and matching exposure, and balance) and grading (which is actually the manipulation of the colors, shadows, hues, contrast, etc.) is done by an engineer, usually on a Spirit or Da Vinci system, with the supervision of the DP.
Jason Steelman
Member
I'm all for creative control but really... the DP doesn't have any more say than the production designer (sorry) - who is defined as the person responsible for the look of the film with the DP and director.
Of course, really traditional models of feature film production don't include the director past production manner. The producer is the only one who overlaps the production manner phase in this somewhat-antiquated model.
If the DP's in your face about unnecessary CC (corrections that are made not to "correct" one shot to match another, rather to show off his shots), I'd respectively tell him/her to shove off. Today, CC (for film being digitally edited) is done by the color timer/cinetransfer and that step conventionally allows the DP in the room b/c it isn't technically in the edit room quite yet. Technically, its the producer's call.
Abalex - unless the director or producer told you otherwise; i'd kick him out until you're happy with your cut. That is to say, I'm assuming you two are having artistic differences?
Of course, really traditional models of feature film production don't include the director past production manner. The producer is the only one who overlaps the production manner phase in this somewhat-antiquated model.
If the DP's in your face about unnecessary CC (corrections that are made not to "correct" one shot to match another, rather to show off his shots), I'd respectively tell him/her to shove off. Today, CC (for film being digitally edited) is done by the color timer/cinetransfer and that step conventionally allows the DP in the room b/c it isn't technically in the edit room quite yet. Technically, its the producer's call.
Abalex - unless the director or producer told you otherwise; i'd kick him out until you're happy with your cut. That is to say, I'm assuming you two are having artistic differences?
abalex
Well-known member
Ok.....I'm the director and editor of the show, this is not completely pro level but we're doing the best we can to work professionally. I guess everything is more about creative freedom than who's in the room. I usually know the look I want for my movies, color, grain or no grain, etc...
I usually do my own CC or grading and I'm ok with that but after I started working with a pro DP he wanted to do the CC/grading w/ me and sometimes he even wants to tell me what shots I should use while editing the piece. I really don't like anyone to bug me while I'm editing.
Even if he's right or his ideas work 100% I just don't like the fact that he in someway controls the editing as well.
We're good friends and he really wants to be around 100% of the time but I think there's a limit for everything, specially once you enter post production. Let the editor do his job.
thanks for all the comments, I've learn a lot.
gv.
I usually do my own CC or grading and I'm ok with that but after I started working with a pro DP he wanted to do the CC/grading w/ me and sometimes he even wants to tell me what shots I should use while editing the piece. I really don't like anyone to bug me while I'm editing.
Even if he's right or his ideas work 100% I just don't like the fact that he in someway controls the editing as well.
We're good friends and he really wants to be around 100% of the time but I think there's a limit for everything, specially once you enter post production. Let the editor do his job.
thanks for all the comments, I've learn a lot.
gv.
GaryinCalifornia
Veteran
Basically I'd wait until the final cut is done... then bring in the director (yourself in this case) and the dp and then color correct...
But I wouldn't let a dp tell you which shots to use... suggestions yes... but like the old saying to many cooks in the kitchen spoil the meal... or close to that...
the Producer is in charge ... usually they would like the DP to CC ... the DP & Director talk/test about the look in preproduction .. sometimes in post they may change it slightly to alot ...
the DP usually does not show up to do any CC until the picture is locked ...
sometimes the DP is not available for CC then it is up to Producer ( who usually consults with Director) who will CC ... DP will send notes/examples to lab/timer/telecine ....
a film that i shot is being CC now ... Producer didn't have $$ to fly me or himself to Lab .... the lab has the 2k scans ...
i gave Producer stills ( i copied from 2k scan) from each scene that i CC ... the colorist will use them as reference ...
the DP usually does not show up to do any CC until the picture is locked ...
sometimes the DP is not available for CC then it is up to Producer ( who usually consults with Director) who will CC ... DP will send notes/examples to lab/timer/telecine ....
a film that i shot is being CC now ... Producer didn't have $$ to fly me or himself to Lab .... the lab has the 2k scans ...
i gave Producer stills ( i copied from 2k scan) from each scene that i CC ... the colorist will use them as reference ...
