If this color space was not so compressed it would not even be an issue. I have tried the waveform monitor thing but found that to ‘eye it’ works best for me. I take one camera that I have balanced perfectly white and it becomes my default camera. This is if your camera had a red yellow bias, you are adding magenta to counter the yellow and blue to counter the red Balance Multiple Cameras Sometimes you get one that is perfect from the factory but from my experience that is not the case. Some cameras come with a yellow bias, a magenta bias, or a green bias. Or you can auto-white balance, your choice. If it is daylight you would be at 5200K, and so on. If you are shooting with a Tungsten source then you would be at 3200K. Set up a white card with the correct color temp on the camera, which depends on the color temp of your light. Each camera comes from the factory supposedly balanced but all of them have a bias. Balancing camera color is one of the most important things that you can do. So, I factor all these things into my RAW look for each camera. I cannot put my fingers on it but it lacks even more detail than the 7D and has a strange contrast along with gray skin tones. The 1D is a very unique sensor and is incredibly sensitive. The 7D has much more contrast, more saturation, and less detail. The 5D is the king of the hill and all the others are trying to climb up to the top but they don’t even have a rope. Once this RAW file worked well in the color-grading bay, I wanted to now design a picture style that took in each camera’s sensor personality. I took a RAW still image and then dragged that image into the Picture Style editor window.īending the highlights to bring them slightly down to increase your dynamic range Design a Picture Style for each Camera’s Sensor Personality I set out to tackle the EOS utility and the Picture Style editor to create my own RAW look. But I wanted to create my own and each camera’s sensor is different. I read about different picture styles that gave you more digital latitude. It will result in noise, fall apart quickly in color correction and just look muddy.Īfter this first experience, I knew I needed to educate myself. Underexposure is a powerful tool with this camera, but the whole image cannot be underexposed. You can always create contrast by stretching the image by pushing the whites and pulling your blacks down. If you don’t feed it enough light the 8 BIT compressed color space quickly goes to 4 and then to 2. I also realized too late that this camera needs light. This worked very well and seemed to give us much more range. Our solution was to go back to the RAW Cineform 444 files and start anew. K and trying to swing the image to a more neutral tone, it is not bad, but I feel it still has a bizarre quality to it. This is another example of our camera being set at 7000 deg. We learned not to use the Vision LUT when color correcting digital footage. We soon understood that with this fragile color space you had to move the knobs very delicately. When Andrew would turn the knobs to make a change, the color would shift radically. Andrew Huebscher, the colorist at Bandito was earning and learning as we dealt with this very compressed Codec for the first time. We started with a LUT (lookup table) that gives you the look and feel of Kodak Vision print stock in the digital world and the Codec just fell apart. When we began the color correction process, we quickly realized a new grading process was necessary. So, the style and color that I had done on Terminator Salvation would be the consistent thread throughout the project. I wanted the look and feel of the webisodes to feel like a prequel to the film. They would release one a week leading up to the opening date of Terminator: Salvation. McG asked me to be the Director/Cameraman for these alternative marketing shorts that were going on the internet. My first experience with the 5D DI color correction was for the Terminator webisodes produced by the Bandito Brothers through Wonderland Sound and Vision.
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