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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 :)

Netflix - The Crown - Shot on Dragon???

I know this is an old thread, but I am just watching this show now. I found an interesting article underscoring that F55 was the camera, but much more interestingly, has a very detailed look at post and workflow. Very cool.

http://integrated.media/vfx-post-production-crown/
 
Scot, that was very useful. How about this though:

For archival use, and to future-proof the programme, Netflix also asked for a separate ungraded version of the series in just camera colour space.
Click to expand...

And then:

All the visual effects were applied to the original ungraded shots so that Netflix now has a complete ungraded master should it decide to repurpose in the future.
Click to expand...
Has this ever been done before?
 
Karim D. Ghantous said:
Has this ever been done before?
Click to expand...

Phil Holland said:
For years on certain productions.
Click to expand...

Really?

The article implies that camera RGB is the source. How can you apply vfx to camera RGB when that colourspace isn't even defined? CameraRGB is a spectral response of the camera, in Sonys case that's not detailed anywhere. I cannot imagine how one would even begin to go about comping in that space.

Now i could imagine doing the vfx in a known very wide space, even ACES, but i doubt they're actually working in CameraRGB, i have no insider info, just the thought of it makes me squeamish :)

So i suspect it means the work is done on an ungraded version, but after it's mapped into a very well known wide space.

You could do that easily with RWG and LogG10 now, that's well defined and also has excellent mappings for different displays.

cheers
Paul
 
VFX are typically created from and delivered in an agreed upon base working color space that is used througout the post production chain, from dailies through the DI. For a Red show, it's commonly RedlogFilm for the gamma curve, and either Redcolor 3 or one of the Dragoncolors for the color matrix. In the case of F55 or F65 material it's typically Slog3/Sgamut3, although in that past it has been Slog2/Sgamut, although it could also be a different space, particularly if the Sony camera is not the primary camera (Arri LogC Wide Gamut is often used, even when Alexa is not the primary camera, and ACES is also a possibility). That way, everyone is working from the same underlying image, so color grading in the DI can be done based on the plate, and that same grade applied to the VFX when they are delivered and conformed. This ensures both efficiency and consistency.
 
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