Previously, I provided an illustration showing how people can more easily see changes in light levels in the bright areas of a scene as opposed to the dark areas. We can take advantage of that attribute of human vision by storing that information in a non-linear way: log.
Here’s a rudimentary example.
Let’s say we store video using a digital file... Read more
Does a reliance on intelligent software make editors, visual effects and motion graphics artists better or just lazier?
As a cinematographer, but also an occasional editor who either hires talented motion graphics artists or, in the cases where there isn’t enough budget to do so, does it himself, it recently occurred to me we’re living in a brave new world of automation. For a variety of reasons, such as I shoot a lot of small crew and even some one-man band... Read more
Taking on additional roles can help make you a more competent production person in any position
No, not those kinds of rolls. We’re talking job roles. For those of you who have been in the production business for more than a few years, you probably came up through your career primarily focused on one or two disciplines. You found a role that appealed to you, honed your skills, made connections, perhaps obtained some education or even a degree... Read more
The image above may look like a mistake, but it’s not. Instead, it will help me explain what “shooting log” is all about.
Last time, I talked about how differently a still photographer and a cinematographer may deal with image capture. The photographer usually tries to capture what he sees, but a cinematographer tries to capture as much image... Read more
No matter the camera you shoot with, you have never had as many choices in high-quality glass to mount to it
2018 has been the Golden Era of lenses for digital cinema, mirrorless and DSLR cameras. High-quality glass used to be something that basically Hollywood used for cinema and television and the rest of us got by with high quality yet different class lenses. For me back in the day, it was a Leica Super 16 zoom lens for my Arri SR2 and B4 mount servo zoom... Read more
In a previous post, I quoted someone who dropped off a drive and said, “We shot log.” The term “log” gets used a lot. For some, it means a lot, and for others, it’s just another term they need to use if they want to be considered a professional.
As someone with both still and motion backgrounds, I think it’s interesting how different still... Read more
Last time I mentioned there are times when I don’t know how the footage I’m editing was captured. Specifically, I want to know if there was a particular LUT (Look Up Table) that was used while monitoring on location or one suggested by the Director of Photography (DP) for use in post.
Sometimes the edit software automatically pulls up the right... Read more
It’s surprising how often I don’t know what I’m looking at. Sometimes a hard drive lands on my console and I need to start cutting. My questions about where the content came from often go unanswered or maybe the answer is just an equally unhelpful “we shot log.”
I don’t really think it’s laziness. People are just so busy, or have... Read more
Here are some ideas to make you consider what could happen if you don’t pay attention to keeping your data safe
Over a series of posts (that you can find here and here), I have talked about keeping your footage safe during post. Most discussions on data safekeeping are about multiple location backups and long-term archiving. While all of that is very important, I have concentrated on thinking about data safety during an edit. What would happen if you lost footage... Read more
In part 1 of this post, I differentiated between archiving footage from a shoot and keeping footage safe during post. I wanted to get editors to think about what would happen if you lost your media.
More importantly, consider how media loss could affect the deadline. How long will it take to get back up and operational?
It’s certainly something... Read more