[Tig] grading On-set

C├ędric Lejeune cedric.lejeune at workflowers.net
Tue Sep 15 11:54:31 BST 2009


Well,
this job already exists, it's the vision engineer (not sure if my 
translation from french is correct) and some are quite talented, some 
live shows (music concerts, operas, etc.) have pretty nice treatments. 
It's more difficult and considered as less important in sport, even if 
IMHO some programs could benefit from a more finished look. Then I'm a 
bit afraid of how it could impede on the spectacle, as overdone 
contrasty/blurred highlights/oversaturated looks are already the norm in 
trailers for big sport event, that would be awful to have that kind of 
processing done to the live stream. Maybe at some point it would be 
available as presets from the user remote control, as the ones I've seen 
on Bones yesterday (thanks Mr Eagles for the demo, I loved the Mexico 
look ;-)
Then for onset stuff I believe previewing and maybe refining a look 
should be alright, but there is no much point in grading/setting a look, 
on a place where potentially a couple dozen paid people are waiting for 
you to work. I do believe in preparing the look in a proper environment 
using cam tests, with the senior colorist driving, set them as a format 
that can be used onset (separating calibration from colour correction 
information) and then get them back for dailies and when conforming, 
saving time on the DI. This way everybody agrees on the look, there is 
no consistency problem along the line and the senior colorist is not 
asked to redo what an assistant done overnight doing the dailies.
My last presentations on the subject are available in the 
Download/Articles section of our website www.workflowers.net
We have also set a plugin on Lustre that can use CDLs from SpeedGrade, 
3cp or Truelight on-set and can create some for monitors such as the 
Cinetal Cinemage.

Cedric Lejeune
www.workflowers.net
pipelines&workflows
back from Amsterdam






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