Film out contrast thoughts

[Lachlan_Milne_DOP]

I'm shooting a film in 3 weeks time on 4 Red cameras and have been testing the 2k DI to film record workflow with Efilm here in Sydney. The biggest thing I've discovered has been the inherent contrast introduced when converting from a linear to log workspace for colour grading. The film is set on a deserted island with white sand and most likely full sun. I'm testing low con filters and specific "lin to log" lut's for monitoring on set but would be very interested in hearing from those whom have had a similar experience.

Cheers,

Lachie

 

[jake blackstone]

I'm shooting a film in 3 weeks time on 4 Red cameras and have been testing the 2k DI to film record workflow with Efilm here in Sydney. The biggest thing I've discovered has been the inherent contrast introduced when converting from a linear to log workspace for colour grading. The film is set on a deserted island with white sand and most likely full sun. I'm testing low con filters and specific "lin to log" lut's for monitoring on set but would be very interested in hearing from those whom have had a similar experience.

Cheers,

Lachie

Hi Lachie.
Looking forward to seeing finished "Uninhabited":thumbsup:
Couple of points on the subject. When you ask about "converting from a linear to log workspace", it's a bit more complex than that. I suspect you're talking about linear nature of CCD, while you're thinking Red RAW to LOG DPX conversion. What exactly is RED RAW and what is a spectral response of the CCD, only Red knows... I'm pretty sure EFilm does all grading using LOG DPX and not RAW, so the conversion is a must. Anyway, what I'm wondering is, why do you think the increase in contrast is introduced specifically during this process. Were you able to look at RED RAW before the LOG transcode and how?
Just one more point. There is no such thing as LIN or LOG "workspace". There is, however, LIN or LOG gamma, or what you're probably thinking is "color space", such as RedSpace or Rec-709