- Thread starter
- #21
YEs you're kind of right. My "Live Feed" is an HDMI Output to TV.
Also, I always keep the TV at default settings or Fltat, Neutral, Basic, or whatever they called it that doesn't boost the contrast or saturation levels.
I just recieved a Letter from the Projectionist at the theater. He gave me some very helpful info as well as what ALL of you guys have been saying for days now.
Here is a copy of his letter
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II was forwarded your email about screening quality. Along with running the technical and marketing sides of NewFilmmakers I am also a Cinematographer. I found your "making of" video on Vimeo (Green Apples & Wannabes), thank you, this allowed me to do a bit of shot by shot comparison both pre and post color & white balance, digital neutral density, shot stabilization, and cgi. All of these are good tools but by there very digital nature degrade the original footage.
Shot stabilization is notorious for that and unless you are working with a 4K scan will add serious artifacts into the print. The reason for this is that you are basically using a moving crop of an already fullsized frame which forces the computer to do a digital zoom thus blowing up the footage past 100%, pixelating the footage. Shooting the final frame "in camera" is essential to maintain full resolution for screenings.
Display on the screen is dictated by the projector which has only three colors to work with Red, Blue, and Green any over reliance on any one or two without the final will darken the film drastically. For instance the traditional hollywood cheat of filming day for night throws you so far into the blue zone that you lose all the strength of red and green. Using a tungsten balanced fill light will help to bring out the detail in the subject, adding a bit of color into the frame using the projector to its full potential. As with the previous, the more of this you do in camera versus in post, the more brightness you will retain.
Dealing with contrast is more of a stylistic question. This is best dealt with between the G&E departments and Camera department. Digital cameras have a very small dynamic range of light that they can capture, but to have contrast must capture a range of light. A good rule of thumb is at least 2 stops of light adds a nice amount of contrast into the frame and with the addition of a lighting instrument or bounce is easy to control. The more range of light you are working with, the more contrast is captured and digital post is no replacement for filming all scenes in camera.
The final loss of resolution is really camera itself. I'm not sure what you're shooting with, but by looking at the frames I can tell it's probably a prosumer camcorder of some sort with minimal to no lighting support. I'd recommend giving the Canon 7D or 5D a spin with the 24-70 2.8L lens and a good DP. You'll notice the difference in quality immediately because you are shooting on a much larger CMOS sensor (more dynamic range and sensitivity) and the lens (with much better glass) is able to capture more resolution within each frame.
I wish you the best
Also, I always keep the TV at default settings or Fltat, Neutral, Basic, or whatever they called it that doesn't boost the contrast or saturation levels.
I just recieved a Letter from the Projectionist at the theater. He gave me some very helpful info as well as what ALL of you guys have been saying for days now.
Here is a copy of his letter
--------------------------------
---------------------------------
II was forwarded your email about screening quality. Along with running the technical and marketing sides of NewFilmmakers I am also a Cinematographer. I found your "making of" video on Vimeo (Green Apples & Wannabes), thank you, this allowed me to do a bit of shot by shot comparison both pre and post color & white balance, digital neutral density, shot stabilization, and cgi. All of these are good tools but by there very digital nature degrade the original footage.
Shot stabilization is notorious for that and unless you are working with a 4K scan will add serious artifacts into the print. The reason for this is that you are basically using a moving crop of an already fullsized frame which forces the computer to do a digital zoom thus blowing up the footage past 100%, pixelating the footage. Shooting the final frame "in camera" is essential to maintain full resolution for screenings.
Display on the screen is dictated by the projector which has only three colors to work with Red, Blue, and Green any over reliance on any one or two without the final will darken the film drastically. For instance the traditional hollywood cheat of filming day for night throws you so far into the blue zone that you lose all the strength of red and green. Using a tungsten balanced fill light will help to bring out the detail in the subject, adding a bit of color into the frame using the projector to its full potential. As with the previous, the more of this you do in camera versus in post, the more brightness you will retain.
Dealing with contrast is more of a stylistic question. This is best dealt with between the G&E departments and Camera department. Digital cameras have a very small dynamic range of light that they can capture, but to have contrast must capture a range of light. A good rule of thumb is at least 2 stops of light adds a nice amount of contrast into the frame and with the addition of a lighting instrument or bounce is easy to control. The more range of light you are working with, the more contrast is captured and digital post is no replacement for filming all scenes in camera.
The final loss of resolution is really camera itself. I'm not sure what you're shooting with, but by looking at the frames I can tell it's probably a prosumer camcorder of some sort with minimal to no lighting support. I'd recommend giving the Canon 7D or 5D a spin with the 24-70 2.8L lens and a good DP. You'll notice the difference in quality immediately because you are shooting on a much larger CMOS sensor (more dynamic range and sensitivity) and the lens (with much better glass) is able to capture more resolution within each frame.
I wish you the best