SIC PODCAST: EP 18 – COLOR GRADING & WORKFLOWS
- December 17, 2018
- Shane Hurlbut, ASC
This month’s podcast focuses on your questions around understanding workflows in relation to camera technology.
- Color grading and camera bit depth
- The future of the digital imaging technician (DIT)
- How I use post-production lighting and vignettes
- The differences between cinema glass and still lenses for the cinematic look
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Thank you to everyone who submitted questions for this month’s Inner Circle podcast. You’ve asked, so Lydia will also be participating, answering your questions about leadership, relationships, communication on and offset, marketing and lifestyle questions (balancing work/family, self care, etc.), and more. As the CEO of Hurlbut Visuals and the visionary of Shane’s Inner Circle, she will also share her vast expertise with you on a regular basis. You can also ask me anything!
Hi Shane, First off, I know you hear it a lot, but thank you immensely for creating the Inner Circle (and all of you Hurlblog posts as well)! I’ve learned so much from you, and that information has saved my ass more than once! My question is this: I’ve talked to a few colorists, and they’re always saying how important it is to have 10-bit color or higher. As a result, I’ve always shied away from using cameras such as the C100, C300, A7s, etc. I know you’ve been a fan of the C100 Mk II, and have elevated it above cameras with 10-bit capability, like the GH4. Could you help clear up this realm a little bit more for me? I’m especially curious about it regarding projects with a medium-to-heavy grade and situations when it comes to projects going sideways, and sometimes having to save the footage in post. Is C100 footage un-salvageable compared to 10-bit footage? Thanks! Eugene.
From a production point of view ( pls correct me if I’m wrong) 2nd AC is traditionally considered a higher position than being a DIT. However, the DIT today in my opinion has more responsibilities and tasks to execute compared to the 2nd AC. I’m not talking about a data wrangler, but a real DIT that does the following: – helps 1st AC, 2nd AC and Camera Operator to go through the advanced menu of the camera when they are not confident ( setting High Frame Rates modes, Raw modes, codecs, trouble shooting Teradek bolts, monitors’ menus, monitoring LUTs, Gamma, etc ) – helps the sound guy to sync time code and adjust levels – prepares LUTs or CDLs with the DP and load them in the cameras, install LUT boxes for color management for director’s monitor – calibrates monitor – double checks video clips for artifacts – transcode from Raw to NLE codecs Finally, do you think that the DIT profession will disappear in few years? The Panasonic VariCam workflow and it’s way of making multiple proxies is the beginning of the end ? – Gianluca Bertone from Torino Italy living in Santa Monica CA
Hi Shane, I want to thank you so much for sharing your knowledge. I own a Red One and a single Cooke miniS4 32mm and for years have struggle to accept that the same camera I shoot on looks like video footage when David Fincher can make it look like film. It’s been very frustrating. After watching your power of bounce lighting tuts, I was able to make my footage look like a real movie, it was almost enough to make my cry I was that happy lol. No, in all seriousness, I want to thank you for showing me a lighting set up that cost me less than $2k to get a multi million dollar look. My question is, how vital is Colorgrading to cement the film look on footage that’s already been shot. I’ve seen indie trailers that look like video, yet 6 months later their new trailer using same footage looked like film, not only does that intrigue me, it bends my mind lol. Also this is my first attempt using your bounce tuts, Im so thank full that it looks like a real movie, not perfect, but so happy https://www.facebook.com/pages/Cinematic-Showreels/1606810806243348
Can you also define the profession of Location Scout Manager ? I have a general idea, but they usually operate a little bit behind the scenes generally like ninja and I was just curious to know more in details what they do exactly and how they can be found?
Hey Shane im a film production student from london im graduating this year and im gearing up for my Final major film project . I wanted to know what happens during camera test, is it just testing if the equipment works i would have thought that the rental house does that before they rent out their equipment or is there more to it . I also wanted to know as i live in the uk do you plan on doing any workshops here in london it would be awesome to see you in action. Thank you, Jome Joseph
Hey Shane Hope you guys at Hurlbut Visuals are all doing well! I remember in the July podcast you mentioning that when it came to the canon cinema primes and the zeiss CP2s, that they’re just the same glass as the photo lenses just with the cinema housing (gears on the barrel, declicked aperture, etc) It’s my understanding in that podcast you said there’s no difference between these two sets of cinema lenses vs still lenses, in camera, shooting on DSLRs. My question is, when you get into better cinema cameras (REDs, Blackmagic, ARRI, Etc) that have more dynamic range and better color space, is there a noticeable difference in the CP2s or the cannon cine primes and the still lenses, that isn’t noticeable in the DSLRs? Keep up the great work and thanks for all the encouragement you give to us. Jacob Hamil Hamil Bros Studios