Good article on "Parts Unknown". Shot on xdcam?? I did not know that.
http://www.c2meworld.com/creation/production-on-cnns-parts-unknown/
.....But it’s the F3 that stays attached to Zamboni for the majority of his workday. Aside from the ergonomics, he also likes S-Log as a way of capturing image information and as the centerpiece of a post workflow.
“We shoot S-Log 4:2:0 right to the cards. The extended latitude of S-Log is terrific with the F3 and gets even better with the F5,” he enthuses. “I see log-style recording as a huge asset in documentary work. There are so many lighting situations we don’t have time or resources to control, so we shoot to protect highlight and shadow detail. For me, more dynamic range is always better. We have a great colorist and it all grades beautifully in [Blackmagic Design] DaVinci Resolve.”
Zamboni prefers to shoot with a 5.6-inch TVLogic monitor, using its waveform to judge exposure. “It’s the best way to work if you’ve tested and you know exactly what can be done with the images during grading,” he says. Once the DPs have established a workflow, they can choose where on the IRE scale to place parts of the image while filming S-Log in a variety of lighting scenarios.
- See more at: http://www.c2meworld.com/creation/production-on-cnns-parts-unknown/#sthash.vfK64Zob.dpuf
“Sometimes characters should be dark in the shadows, sometimes clearly not. How does it look to bring 10 or 20 IRE up to 30 in the grade, or 40 to 50? What does it look like to bring a really high level back down? It’s about knowing each level between zero and 100 you record on set and where it can eventually be placed in the grade. How much detail will it have and how bright will it be? Brightness, darkness, saturation—it’s all malleable [in post] if you expose it properly in the first place.” - See more at: http://www.c2meworld.com/creation/production-on-cnns-parts-unknown/#sthash.vfK64Zob.dpuf
http://www.c2meworld.com/creation/production-on-cnns-parts-unknown/
.....But it’s the F3 that stays attached to Zamboni for the majority of his workday. Aside from the ergonomics, he also likes S-Log as a way of capturing image information and as the centerpiece of a post workflow.
“We shoot S-Log 4:2:0 right to the cards. The extended latitude of S-Log is terrific with the F3 and gets even better with the F5,” he enthuses. “I see log-style recording as a huge asset in documentary work. There are so many lighting situations we don’t have time or resources to control, so we shoot to protect highlight and shadow detail. For me, more dynamic range is always better. We have a great colorist and it all grades beautifully in [Blackmagic Design] DaVinci Resolve.”
Zamboni prefers to shoot with a 5.6-inch TVLogic monitor, using its waveform to judge exposure. “It’s the best way to work if you’ve tested and you know exactly what can be done with the images during grading,” he says. Once the DPs have established a workflow, they can choose where on the IRE scale to place parts of the image while filming S-Log in a variety of lighting scenarios.
- See more at: http://www.c2meworld.com/creation/production-on-cnns-parts-unknown/#sthash.vfK64Zob.dpuf
“Sometimes characters should be dark in the shadows, sometimes clearly not. How does it look to bring 10 or 20 IRE up to 30 in the grade, or 40 to 50? What does it look like to bring a really high level back down? It’s about knowing each level between zero and 100 you record on set and where it can eventually be placed in the grade. How much detail will it have and how bright will it be? Brightness, darkness, saturation—it’s all malleable [in post] if you expose it properly in the first place.” - See more at: http://www.c2meworld.com/creation/production-on-cnns-parts-unknown/#sthash.vfK64Zob.dpuf
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