Digital Video - August 2008 - (Page 25)

American Teen director Nanette Burstein (below) checks her coverage. the same resolution for output to HD D-5 tape. This was then graded in a da Vinci suite in a D-5-to-D-5 session. “I think that people who shoot in standard def and finish in HD always benefit by doing the upres first and then color correcting in HD,” Johnson observes, “rather than color correcting in SD and blowing that up to HD.” After a digital cinema version of the D-5 was projected at this past Sundance Film Festival, Paramount Vantage decided to acquire the theatrical rights. At this point, Post Logic Colorist Doug Delaney returned to the uncorrected D-5 to do another pass in the FilmLight Baselight color corrector specifically to yield a D-5 version that would look as good as possible when filmed out using the company’s Arrilaser. “It’s important to do additional color correction if you’re going to film out,” Delaney says. “Film projected on a screen has different sensitivity and contrast issues than a video image on a CRT. There are look-up tables that can help with some of the issues, but you really want to have a colorist making interactive decisions about specific scenes and shots.” Delaney says of the original material, “I was impressed. The cinematographer did very nice work. The SDX900 really handled a lot of different situations very well. I had much less latitude to work with than I would if I was working from film negative, of course, but the quality of the images they got on location with available www.dv.com light was astounding.” As a rule, Delaney notes that images from such cameras will always benefit when a videographer follows the overall approach that Kilbourn took in making sure she didn’t process the image too much in camera. “Obviously, it’s important to try as much as possible to avoid clipping highlight or shadow detail,” he says. “And you don’t want to do much to the chroma. And it’s usually best to stay away from ‘enhancement,’ ‘edge detail’ and any of the other ways different manufacturers call the sharpening tools. There are a lot of things that might make the picture look nicer on a monitor that will be problematic when you try to blow it up and color correct it.” For Kilbourn, the most important facet of the cameras she used was their simplicity. “This is the kind of job where the most important thing for me to do is be able to forget the gear and listen to the kids and be involved in with what they’re doing,” she says. “The camera has a lot of menus, and it can do a lot but you don’t have to do anything with menus while you’re shooting. You can use them in advance if you want and then just concentrate on what’s happening without ever having to think about the equipment. On documentaries, that’s really very important. It doesn’t matter what great things a camera can do if it’s going to distract you from what you’re there to shoot.” DV dv august 2008 25 http://www.dv.com

Table of Contents Feed for the Digital Edition of Digital Video - August 2008

Digital Video - August 2008 Contents DV Update My Studio Close-Up Wristshot HV30 Camcorder Tiffen DFX Bench Test PCM-D50 & R-09HR Recorders Camera Cradle Instant Expert My Passport Elite High School Confidential The Ultimate DIY Raid DV101 Click to Play Production Diary

Digital Video - August 2008

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