AF100 vs. Alexa

[Rick Burnett]

Truth is, if I recall correctly, you can shoot without HDRx if you don't want it For me, I DEFINITELY want it at some point. Really just for scenes with huge dynamic range like outside. I don't want to have to light an outside shot to bring the darks closer to the lights OR screen the lights down. I am only doing that in these instances because the camera doesn't have the range to pick up both. Without doubt, HDRx will be abused, but it won't negate the need for good lighting for it to look right. It's just another useful tool for challenging scenes.

 

[Razz16mm]

Truth is, if I recall correctly, you can shoot without HDRx if you don't want it For me, I DEFINITELY want it at some point. Really just for scenes with huge dynamic range like outside. I don't want to have to light an outside shot to bring the darks closer to the lights OR screen the lights down. I am only doing that in these instances because the camera doesn't have the range to pick up both. Without doubt, HDRx will be abused, but it won't negate the need for good lighting for it to look right. It's just another useful tool for challenging scenes.

I was on a mid day summer set in 87 at 104 degrees in the shade where the gaffer used 3 12k fresnels for fill. Talk about an oven! Something like HDRx would have been a godsend in that situation.

 

[Dino]

No self respecting creative still photographer these days would put up with the inherent limitations of an 8 bit or 10 bit encoded format for image capture.

Yes, but a still photographer has control over the final image. Most of us lowly DP's aren't paid to sit in on grading, which is why I like to bake in a look as much as possible unless I know and trust the editor/colorist.

 

[TimurCivan]

Yes, but a still photographer has control over the final image. Most of us lowly DP's aren't paid to sit in on grading, which is why I like to bake in a look as much as possible unless I know and trust the editor/colorist.

Exactly. Many times films i 've shot warm, with a low contrast look to give a certain feel, after itgoes to the editor winds um coming back looking like the matrix. Cold and ultra contrasty. If you bake it in, they can't do much, but if its raw, ehh... color will "fix" it.

Sometimes I can't communicate with the colorist, or the editor. Or just don't have time. Its very annoying.

 

[Rick Burnett]

I'd say the solution is changing the model, not the technology Given cameras are starting to really open up the possibility of post production manipulation even further, the DP is going to have to communicate more to the colorist/editor. This is definitely just the beginning for DR increases, so I'd expect it to get worse.

I hate to say it, but to me, sounds like the real problem is the colorist or editor. You're being the bandaid by trying to force them into using your settings, but if their gut instinct is a different look that was totally not what you were looking for, they gotta go

 

[G.P.]

On the topic of the whole baking in situation:

I spoke with Roger Deakins, ASC BSC about the post production take overs... We talked about how important it is for the DP to be involved in every step he can in the post process, from editing, to color timing. I too have had those nightmare situations where I shot something flat for post to work it... I ended up not being available to sit in on color timing... and ugh just got some nasty results back.

Its really part of the DP's job to control not just the production side of the image, but post as well. Roger and I both agreed that in this new age of technology we find editors picking buzzed focus shots more, and maybe missing details that otherwise would have been taken care of if dailies were viewed on a big screening room every day.

If you're serious about your DP work, then you must insist and in your contract state you MUST be given access to the color timing sessions and final editing tweaks. If you aren't there, then you are really directing the photography are you? Sure you shot it, but if your vision is destroyed by some editor who didn't understand your vision, then there was no point of you being in the process to begin with. Now in my contracts I am bound to be a part of the color timing so I can make sure the vision its as it should be.

 

[Dino]

Giuseppe,

I agree with your points, but it just isn't always possible/practical time wise, budget wise, geography wise. I find meeting(or a conference call) with the editor/colorist prior to the shoot can be very beneficial to everybody to make sure we're all on the same page. I'm guessing Roger Deakins has a bit more clout than I when it comes to contractual stipulations!