Thread: Sony VENICE and RED Monstro Anamorphic in 4K HLG HDR right out from cameras

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  1. #21  
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    Quote Originally Posted by Nick Morrison View Post
    ....And we have a demanding colorist who doesn't tolerate cams with wrong color balance, so trust me...if there was an actual problem I'd know.
    You've got to be kidding. "Doesn't tolerate cams with wrong color balance.." Really?? Does the colorist work for you or do you work for the colorist??
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  2. #22  
    Senior Member Chris McKechnie's Avatar
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    Quote Originally Posted by Nick Morrison View Post
    Chris this test has nothing to do with RED's color accuracy - this crew is clearly not white balancing (at all).

    Sorry, you're being pretty unfair here.

    If you pointed an Alexa at this slate with similar settings it could be green too (I know of a very talented DP that always dials out the green in Alexa - did it on an Amira shoot with us).

    This team obviously wasn't thinking about WB at all.

    Maybe there were offsets in the Monstro from a previous shoot?

    Maybe the light really is green?

    We always WB RED's before we shoot (off a card or chart) and never have problems. And we have a demanding colorist who doesn't tolerate cams with wrong color balance, so trust me...if there was an actual problem I'd know.
    RED has been playing catch up in terms of color for years to Alexa...it's nothing new. 90+% of the cinematographers out in the world if given the option to shoot on Arri vs RED, they'd choose Arri because of their color science and DR. It trumps resolution almost every single time...outside of crazy VFX heavy productions. I love RED, but you need to do more in post to get it where it needs to be. Yes, RAW makes a difference and you can fix screw ups, but most productions nowadays prefer pro res, which doesn't give you quite as much flexibility in post.

    Cameras are just tools anyways...and really the thing that matters most is the person behind that specific tool. This isn't to bash on RED....since they already have the leading 8K acquisition tool...I wish they'd shift their focus to a more color/DR centric camera that shot 4K - because that's all we really need, and create a tool that truly competes with Arri in terms of color/DR. With the market where it is now, if they undercut Arri with pricing, they'd truly have a winner on their hands.
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  3. #23  
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    Quote Originally Posted by M Most View Post
    You've got to be kidding. "Doesn't tolerate cams with wrong color balance.." Really?? Does the colorist work for you or do you work for the colorist??
    I'd fire the dp. Not the colorist.
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  4. #24  
    Senior Member Michael Lindsay's Avatar
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    Quote Originally Posted by M Most View Post
    You've got to be kidding. "Doesn't tolerate cams with wrong color balance.." Really?? Does the colorist work for you or do you work for the colorist??
    +1

    Camera meta data with wrong colour balance embedded is super trivial to correct... we nearly never touch colour temp or tint on set as reds sampling tools are inferior to what we have in post to finesse this... we shoot as if we have 2 film stocks (prob as Jim imagined)

    ...now what is not trivial is multiple lightsources polluting or feeding the image in different ways... and in that situation we try take time to filter and correct on set.
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