classic film techniques with red

[Jan Reiff]

we will start shooting within the next 7 month three 90min feature films with red. we are in progress of discussing the look for each film.

would like to know,
how other red users achieve the classic film techniques (neagtive processing) like

bleach bypass
cross-processing

would be interested in your whole workflow to achieve this from exposure to redcine to final grading.

thanks for any new ideas about this, maybe with some stills from redcine settings or advices about good plugins filters.

cheers and thanks!

 

[Benjamin Rowland]

Nattress makes some filters for Apple Color:

http://www.nattress.com/Products/FinalTouch/FinalTouch.htm

 

[Hans von Sonntag]

Hi Red South West,

Most DI applicatios have a Bleach Bypass node, and yes, Graham Nattress created a fine collection for Apple Colour, including a great deinterlacer that I often use for downscaling stuff.

There are other nodes around that mimic a 2 or 3 strip technic-color process or a day for night filtration. You will find them in most DI apps. If not, skilled colorists know how to create such looks without dedicated plugins.

In SpeedGrade for instance you can stack those nodes and tune not only themselfs but how much they impact the grade. You can also grade your footag crossed which is not an "chemical" way but a classic with telcine. Here, you switch off the Spirit's negative/positive node and grade off the negative, which can give you a slight silvery shimmer on skin tones.

Grading this way you have trillions of posibilities of treating your footage. I'm sure that Scratch, Baselight, Film Master, etc. have similar abilities.

Nevertheless all these techniques only mimic the film process. If you want the real thing you have to shoot 35mm. I know that's a digital centric forum but there are interesting developements such as 2perf. which make a 35mm indie feature production much more affordable.

Hans

 

[Jan Reiff]

the special chemical process of this techniques cant´t be achieved, sure.
but it´s interesting to "imitate" the workflows with digital footage.

we will test some of this.
and playing with "digital crossing" with the red footage should be some fun next week within the tests, especially, as hans said, what´s happening with the skin tones. i think red with its raw image delivers the best basic and argument for playing in those directions.

thanks rowland and hans for your post.

best!

 

[LEON]

we will start shooting within the next 7 month three 90min feature films with red. we are in progress of discussing the look for each film.

bleach bypass
cross-processing

If you do a film output why don't you test bleach bypass or/and
cross-processing at that step ?

 

[Chris Swartz]

Why not use Magic Bullet inside your edit or compositing app?

http://www.redgiantsoftware.com/products/all/magic-bullet-suite/

Chris

 

[Hans von Sonntag]

If you do a film output why don't you test bleach bypass or/and
cross-processing at that step ?

This is an interesting idea. And since camera negative stock is often used in the Arri Laser you certainly can do a bleach bypass process in this step of the final output.

The big downside is that you don't see in your DI app. what you are getting. Currently only "normal" film LUT are available. A LUT that mimics the bleach bypass hat to be build.

But before that some test has to be done. Nice idea.

Hans

 

[Hans von Sonntag]

Why not use Magic Bullet inside your edit or compositing app?

http://www.redgiantsoftware.com/products/all/magic-bullet-suite/

Chris

Stu Maschwitz who created the Magic Bullit Suite will surely not deny that his app. is a great tool for the bugdet but any dedicated DI app. will outperform it in a heartbeat. And outperfoming does not only include RT capabilities but also subtle, delicate tuning potential that Magic Bullit may not have. Magic Bullit doesn't also support dedicated hardware such as Tangent controller which colorists need for fast and intuitive work.

I would recommend Magic Bullit for anyone who needs a comprehesive CC Plugin with its convenient templates within FCP or AE.

Sidenote: Why is RT so important for grading? A grading session is a intensive, collaborative process where decissions are made quickly. Keeping the pace is vital for the colorist's work. Anything that slows down the process has to be avoided; not only because of obvious economical reasons but also, and much more important, for artistic reasons.



Hans

 

[Jan Reiff]

leon,
good idea.
should be worth a test.
thanks.