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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Leo and REDlogFilm...

Heh, I've seen a lot of people responding strongly to images I'd consider flat, so I'm just trying to wrap my head around the esthetic.

And it's a good thing for us you've been focusing on the "Coolest Cameras on the Planet" contest.

:)
 
Jannard said:
You get to decide what you like best and grade to that look. The point of this thread is that now it is very easy to get what you want with much less effort given the new color science.
Click to expand...

What he said. I was wondering though, are people grading the jpeg in your post or seeing the clip in its entirety, putting the grade in context?

Just look at the clip @ the 4sec. point. Leo comes out of silhouette when the match ignites. Look at the detail in his shirt. Wow...
 
What I love is that I too have spend the past week regrading everything I've shot with my red..... Just like the man who built the damn thing. Makes me feel somewhat connected rather than just another chump.

I am worried though.... That when I update my reel, the clients might want their projects degraded after they see it.

I'm also curious if SS would like to regrade "the girlfriend experience" now....
 
Jonathan Stevenson said:
I think Christopher's question is more "When it comes to a gamma curve, is the goal to start with the most flat image possible, with no pure blacks, in order to have the most info for grading?"

Am I right Chris?
Click to expand...

Exactly, Jon. I'm accustomed to tying to get my Raw stills out of Capture 1 with the grading done... so I've also been attempting to get a really good basic grade out of Cine-X, which I can... my God the files are so freakin flexible but I'm beginning to wonder if I should look at motion a little differently than I look at stills.

Thanks Much,
CB
 
Chris, a lot of it isn't about grading to a flat image... it's about *starting* with a flat image. By starting with a lower-contrast image [regardless of the DR of the scene], you can push and pull data around with ease. You're never fighting the inherent contrast of the scene... everything is just evenly distributed and left for you to decide how to build it.

The lower contrast curves are new, so everybody's going to make lower contrast images for a while. I prefer to think of it as a newer/easier way to get where I was going to go anyways. I now don't have to fight anything about the image, I can just make it what I want it to be.
 
Christopher Barrett said:
Heh, I've seen a lot of people responding strongly to images I'd consider flat, so I'm just trying to wrap my head around the esthetic.
Click to expand...

Most of the flat image/video samples that get posted here are NOT about aesthetic at all. They're flat to demonstrate what information is available in the image, which can then be graded with a ton of flexibility.
 
Shutter Island

Shutter Island

1291563946.jpg

Shot with RED1-MX using Carl Zeiss Master Primes T1.3 lenses.

shutter_island-01.jpg

Shot with Camera: Arriflex 765 / Arriflex D-21 / Panavision PFX System 65 Studio, Panavision System 65 Lenses / Panavision Panaflex Millennium, Panavision Primo Lens.

shutter_island-02.jpg

Shot with Camera: Arriflex 765 / Arriflex D-21 / Panavision PFX System 65 Studio, Panavision System 65 Lenses / Panavision Panaflex Millennium, Panavision Primo Lens.

Cinematographer: Robert Richardson ASC>>>
 
Sanjin Jukic said:
1291563946.jpg

Shot with RED1-MX using Carl Zeiss Master Primes T1.3 lenses.

shutter_island-01.jpg

Shot with Camera: Arriflex 765 / Arriflex D-21 / Panavision PFX System 65 Studio, Panavision System 65 Lenses / Panavision Panaflex Millennium, Panavision Primo Lens.

shutter_island-02.jpg

Shot with Camera: Arriflex 765 / Arriflex D-21 / Panavision PFX System 65 Studio, Panavision System 65 Lenses / Panavision Panaflex Millennium, Panavision Primo Lens.

Cinematographer: Robert Richardson ASC>>>
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Sanjin, I'm sure the top light in the first image and the back light on his hair in the second weren't done with matches...

:biggrin5:
 
Look at the catch lights in his eyes... not the same.

Jim
 
Christopher Barrett said:
Exactly, Jon. I'm accustomed to tying to get my Raw stills out of Capture 1 with the grading done... so I've also been attempting to get a really good basic grade out of Cine-X, which I can... my God the files are so freakin flexible but I'm beginning to wonder if I should look at motion a little differently than I look at stills.

Thanks Much,
CB
Click to expand...

No, aside from direction, story and matching angles - from closeup to wide shot - I'd say you should be grading motion exactly as you would stills. The point here is to have the choice to grade it as you would want and not find that the lovely look you got in the wide shot can't be done in the closeup because the shadows have blocked up. Blacks and whites are easy-gets. Detail is another matter entirely. This is what everyone is getting so excited about.
 
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