CML and image quality – chickenshit’s

CML was set up for high end pro’s and those who aspire to be in that class.
I’ve never worried about offending anyone else.

There are lots of places on the net for cinematographers who don’t care
about or maybe just don’t recognise a high quality image.
I never wanted CML to be one of those places.

My recent experiences of working with post people whose whole approach to life was “that’ll do” “good enough” “nobody”ll notice” has caused me to stop and take stock.

I feel that CML has been drifting in that direction.

I realise the political and economic pressures that are on us, believe me!

That doesn’t remove from the fact that if we don’t stand up for image
quality nobody will we are “the guardians of the image” and painful though it might be at times we have to fight that fight.

Answer for yourself a few simple questions, in a world where data size
didn’t matter, where RAW recorders were tiny and cheap, where transfer times were zero, where processing power was vast WOULD YOU EVER SHOOT ANYTHING OTHER THAN RAW?

Of course you wouldn’t because deep down inside you know that compression damages your images.

Next question, bearing in mind the conditions listed above, given a choice
of a system that recorded equal amounts of RGB and one that recorded 50%G and 25%R&B and then guessed what was in the holes that that approach left behind would you ever use anything other than the full RGB system?

Of course you wouldn’t because you know that resolution and colour are
compromised by CFA systems.

Now, given that you would go the quality route every time, why are you being such chickenshits and compromising your images all the time?

Devastated 3

So, I’ve finally got a version of The Taking that I’m happy with, I certainly didn’t think that this was going to be possible after the C&C showing in Leeds on the 5th November!

It’s taken a lot of work to clean up the mess and in the process I’ve learned a huge amount.

I’ve also had a lot of help and I’d particularly like to than  Nick Shaw and Gavin Greenwalt for the LUT’s that they created to fix some of the initial errors. These errors were introduced when 4K TIFF’s were created for the VFX guys from the original R3D files, why the match graded log DPX files I had created weren’t used is a mystery. Anyway, the TIFF’s were created with the contrast, saturation and FLUT settings burned in that we had used for monitoring only on location and that were never meant to be used anywhere else.

This created a wonderful set of problems as there was more than one look used on location…

These files had been used by the post house in the final finish for the C&C showing, it should have been clear to a blind man that the files were not “normal” log files but whatever…

I’ve spent 4 weeks going through the edited DPX files matching black levels and contrast, replacing shots that had been clipped form data to TV levels and generally patching things up.

Finally on New Years Eve I had a version of the film that looked as it should.

A version that didn’t have to apologise for being low budget but that looks good regardless of budget.

It looks the way that Dom and I agreed it should back in July when we graded it at UWE.