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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 :)

One year anniversary of shooting with the Red One

Florian, sorry but that is just fine work no matter what you shot it with. :)

Very nice and thanks for sharing.

Lee
redless
 
Florian! Looks like you have been keeping yourself very busy!
Great looking reel my friend.
 
I did an extra pass in Color after editing and did a couple tweaks. Since I didn't have access to most of the original files I took the best available final file with color correction already done and tweaked from there.
I did the final color correction on some of the spots myself since the director likes his directors cuts with my color correction and not the agency's for his reel. One of the many benefits of the Red, he takes a copy of the files home after a job, edits, uploads his directors cut as input for the agency. I then go in when I have time to do my color correction pass. One agency has even hired me to do their final color correction after seeing what I did on the directors cut...
 
Dop cc

Dop cc

Florian Stadler said:
One agency has even hired me to do their final color correction after seeing what I did on the directors cut...
Click to expand...

DP making CC on his own material feels like the most reasonable idea i've ever heard so far ... sure it's far from standard procedures or common practice, but i guess things will change.
This could be yet another red-induced little revolution ...
 
Simon Valderrama said:
DP making CC on his own material feels like the most reasonable idea i've ever heard so far ... sure it's far from standard procedures or common practice, but i guess things will change.
This could be yet another red-induced little revolution ...
Click to expand...

DP's were usually hired for Color-correction sessions when everything was shot on film. Sometimes agencies did not think it mattered. I always wanted the DP in on CC sessions. So shooting RED is no different in some respects then shooting on film.
 
Michael Schrengohst said:
DP's were usually hired for Color-correction sessions when everything was shot on film. Sometimes agencies did not think it mattered. I always wanted the DP in on CC sessions. So shooting RED is no different in some respects then shooting on film.
Click to expand...

The only clients that ever HIRED me (paid full day rate) to sit in on a telecine session were Japanese clients and I always thought it was smart of them. I always attended telecine sessions if I was available and in the same place for FREE.

As Cinematographers we have lost a lot of control over our images in the process of going to digital color correction initially. By making the color correction process part of our own process (by collaboration or self-initiative) I think is the only way to regain that control again.
 
Michael Schrengohst said:
DP's were usually hired for Color-correction sessions when everything was shot on film. Sometimes agencies did not think it mattered. I always wanted the DP in on CC sessions. So shooting RED is no different in some respects then shooting on film.
Click to expand...

uh well, but what i think it's that there's a substatial difference between attending a telecine session and doing yourself the CC with your own hands. As many crafts i found it's impossible to understand it fully until you're able to do it yourself, that's why i'm always studying cinematography and CC even if will not ever be a DP or a colorist. This way i'm able to understand and appreciate better their work when i'm working with them ... that's why i said this could be a red induced change, as i see it quite difficult to own a telecine :)
 
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