American Cinematographer - August 2009 - 60

Post Focus Technicolor’s Creative Bridge division has introduced the DP Lights system, which comprises a portable console incorporating the ASC CDL. Cinematographers can use the system to time images on set and send CDL information to Technicolor, where it is used to time the dailies without baking the look into either the film or the original scan. Exploring Technicolor’s DP Lights on Takeo by Jon Silberg When cinematographer Kristina Schulte-Eversum decided she wanted to flash the negative on Takeo, her American Film Institute thesis project, she quickly discovered what other cinematographers have learned the hard way: the technique makes people nervous. Producers are reluctant to build something into the negative that might prove difficult to fine-tune in post, and labs worry that something can go wrong. As it happened, Technicolor’s Creative Bridge division was looking for a way to beta-test its upgraded DP Lights previsualization system on a film project. The system, designed to help cinematogra60 August 2009 phers build a look on set that can be codified and attached to the images as they travel through the post pipeline, had been used on a number of projects that originated digitally, but Takeo became its first film venture. Schulte-Eversum was confident she could process her negative normally and come very close to creating the desired effect in the final timing, but she was worried that the final look would not be reflected in the dailies. “It’s a very dark story, and I was concerned that the faculty, the producer and the editor would become accustomed to the look of the dailies and then be shocked after I did the final color-correction,” she says. Technicolor’s DP Lights comprises software that can be loaded onto a Mac or PC laptop and a properly calibrated external screen/display. On the set, the cinematographer (or digital-imaging technician) can dial up a look that they can discuss with collaborators. The system incorporates the ASC CDL (Color Decision List), which means the cinematographer can adjust the image using 10 values (AC Oct. ’08). The resultant look is displayed on the console, and the data from the single manipulated DPX file is saved in the system and e-mailed to the dailies colorist. If the final product is to be released on 35mm, DP Lights can also apply Technicolor’s proprietary film-emulation look-up table. “It’s about protecting the cinematographer’s intent,” says Brian Gaffney, who helps manage the deployment of DP Lights. “You can set a look on set, and there’s an exchange media Photos courtesy of Technicolor.

American Cinematographer - August 2009

Table of Contents for the Digital Edition of American Cinematographer - August 2009

American Cinematographer - August 2009
Contents
Editor’s Note
Letters
Short Takes: “Carousel”
Production Slate: ASC/BSC Panel and Stingray Sam
Fellow Foodies
Exposing a Secret Slaughter
When Not in Rome
Robots Run Rampant
Post Focus: Technicolor’s DP Lights 2.0
New Products & Services
International Marketplace
Classified Ads
Ad Index
Clubhouse News
ASC Close-Up: Aaron Schneider
American Cinematographer - August 2009 - Intro
American Cinematographer - August 2009 - American Cinematographer - August 2009
American Cinematographer - August 2009 - Cover2
American Cinematographer - August 2009 - 1
American Cinematographer - August 2009 - 2
American Cinematographer - August 2009 - Contents
American Cinematographer - August 2009 - 4
American Cinematographer - August 2009 - 5
American Cinematographer - August 2009 - 6
American Cinematographer - August 2009 - 7
American Cinematographer - August 2009 - Editor’s Note
American Cinematographer - August 2009 - 9
American Cinematographer - August 2009 - Letters
American Cinematographer - August 2009 - 11
American Cinematographer - August 2009 - Short Takes: “Carousel”
American Cinematographer - August 2009 - 13
American Cinematographer - August 2009 - 14
American Cinematographer - August 2009 - 15
American Cinematographer - August 2009 - 16
American Cinematographer - August 2009 - 17
American Cinematographer - August 2009 - Production Slate: ASC/BSC Panel and Stingray Sam
American Cinematographer - August 2009 - 19
American Cinematographer - August 2009 - 20
American Cinematographer - August 2009 - 21
American Cinematographer - August 2009 - 22
American Cinematographer - August 2009 - 23
American Cinematographer - August 2009 - 24
American Cinematographer - August 2009 - 25
American Cinematographer - August 2009 - 26
American Cinematographer - August 2009 - 27
American Cinematographer - August 2009 - Fellow Foodies
American Cinematographer - August 2009 - 29
American Cinematographer - August 2009 - 30
American Cinematographer - August 2009 - 31
American Cinematographer - August 2009 - 32
American Cinematographer - August 2009 - 33
American Cinematographer - August 2009 - 34
American Cinematographer - August 2009 - 35
American Cinematographer - August 2009 - 36
American Cinematographer - August 2009 - 37
American Cinematographer - August 2009 - Exposing a Secret Slaughter
American Cinematographer - August 2009 - 39
American Cinematographer - August 2009 - 40
American Cinematographer - August 2009 - 41
American Cinematographer - August 2009 - 42
American Cinematographer - August 2009 - 43
American Cinematographer - August 2009 - 44
American Cinematographer - August 2009 - 45
American Cinematographer - August 2009 - When Not in Rome
American Cinematographer - August 2009 - 47
American Cinematographer - August 2009 - 48
American Cinematographer - August 2009 - 49
American Cinematographer - August 2009 - 50
American Cinematographer - August 2009 - 51
American Cinematographer - August 2009 - 52
American Cinematographer - August 2009 - 53
American Cinematographer - August 2009 - Robots Run Rampant
American Cinematographer - August 2009 - 55
American Cinematographer - August 2009 - 56
American Cinematographer - August 2009 - 57
American Cinematographer - August 2009 - 58
American Cinematographer - August 2009 - 59
American Cinematographer - August 2009 - Post Focus: Technicolor’s DP Lights 2.0
American Cinematographer - August 2009 - 61
American Cinematographer - August 2009 - 62
American Cinematographer - August 2009 - 63
American Cinematographer - August 2009 - New Products & Services
American Cinematographer - August 2009 - 65
American Cinematographer - August 2009 - 66
American Cinematographer - August 2009 - 67
American Cinematographer - August 2009 - 68
American Cinematographer - August 2009 - 69
American Cinematographer - August 2009 - International Marketplace
American Cinematographer - August 2009 - 71
American Cinematographer - August 2009 - Ad Index
American Cinematographer - August 2009 - 73
American Cinematographer - August 2009 - Clubhouse News
American Cinematographer - August 2009 - 75
American Cinematographer - August 2009 - ASC Close-Up: Aaron Schneider
American Cinematographer - August 2009 - Cover3
American Cinematographer - August 2009 - Cover4
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