CAMERIMAGE AFC - PANASONIC WORKSHOP...
Transcript of CAMERIMAGE AFC - PANASONIC WORKSHOP...
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CAMERIMAGE
AFC - PANASONIC WORKSHOP PRESENTATION
Plus add-ons & explanations given after MICRO SALON 2017 presentation.
Philippe ROS
Cinematographer AFC
Co-chairman of the CCTC of Imago (Technical Committee)
Honorary member of the Canadian Society of Cinematographer
Member of the French CST (Technical Superior Commission)
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Special thanks to:
The TEAM (see page 76)
Nela PERTL Marketing Manager - PANASONIC Europe
Luc BARA Technical Product Manager - PANASONIC Europe
Olivier CARTIER Product manager - VISUAL IMPACT
Denis GRANAI Marketing director - CINEMAGE
Jerome VALIDIRE Colorist – CINEMAGE
THE PARTNERS (see page 63 - 64)
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Research
Black & White Imaging
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As soon as the cinematographers started to use
panchromatic films instead of orthochromatic ones,
we saw the difference of reproduction of grey
values of skintones.
Make-up artists used white cosmetic liners, purple
and pink colors for the lips and eyelids.
(Right: Theda Bera portrait).
Reminder on Black and White in film
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Values of grey of each colors have
always been manipulated through
temperature or duration of process or,
for example, glass filtering.
Right: Example of red filter (Cokin)
adding drama in the sky.
Reminder on Black and White in film
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‘’Cat People’’ Director: Jacques Tourneur - Cinematographer: Nicholas Musuraca
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‘’Cat People’’ Director: Jacques Tourneur - Cinematographer: Nicholas Musuraca
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Black & White film stocks
Kodak
Ilford
Gevaert
Dupont de Neumours
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Research
Black & White digital stocks
Infra-red
Digital cameras - Digital workflows
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Several paths - Different results
A standard digital camera has in front of the sensor:
• A Bayer pattern
• An Infra-Red (IR) cut filter
B&W with digital cameras
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Several paths - Different Results
OPTION 1 - Shooting with a B&W digital camera without Bayer pattern
OPTION 2 - Shooting color, creating B&W in post during grading
OPTION 3 - Shooting color without infra-red cut filter, creating B&W in post during grading
B&W with digital cameras
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Several paths - Different results
OPTION 1 - Shooting with a B&W digital camera (without Bayer color pattern)
• Without IR cut filter
B&W with digital cameras
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Several paths - Different results
OPTION 1 - Shooting with a B&W digital camera (without Bayer color pattern)
• Without IR cut filter
B&W with digital cameras
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Several paths - Different results
OPTION 2 - Shooting color
• Creating B&W in post during grading
B&W with digital cameras
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Several paths - Different results
OPTION 3 - Shooting color without infra-red cut filter
• Creating B&W in post during grading
B&W with digital cameras
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Several paths - Different results
OPTION 3 - Shooting color without infra-red cut filter
• Creating B&W in post during grading
B&W with digital cameras
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B&W with digital cameras
Several paths - Different results
OPTION 3 - Shooting color without infra-red cut filter was choosen
• Creating B&W in post during grading
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B&W with digital cameras
Several paths - Different results
OPTION 3 - Shooting color without infra-red cut filter
• Creating B&W in post during grading
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Panasonic option
Varicam LT
Owns a detachable IR cut filter
Replaced by a neutral filter for conserving the same flange depth
B&W with digital cameras
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Escapade
Directed by Ben Elia
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THE FILM ON VIMEO
https://vimeo.com/182057250
https://vimeo.com/182057250
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Escapade - Tech specs
DELIVERIES
24ps
4K DCP
RECORDING FORMAT:
AVC-Intra 4K 10-bit 4:2:2
V-Log
Escapade
DUAL NATIVE ISO
Use of
• 800 @ 800 ISO
• 1250 & 2500 @ 5000 ISO
WHITE BALANCE
Extensive use of
• Selection between 2400°K and 2800
• Choice of subtle gradations on
Magenta & Green
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Escapade - Tech specs
ASPECT RATIO
1:1,85
LENSES spherical
• Canon prime T1,4
• Cooke prime T2
• Zeiss Ultra Wide zoom
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Tests
Shooting by day
Shooting by night with:
• A young actress
• The Eiffel Tower
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Mottos:
• Importance of controling colors for the grading
• Having the smallest crew to get more time to shoot
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Constraints:
• European Football Championship 2016
• Heavy security checks in Paris restricting road traffic around
the Eiffel Tower
Advantages
The Eiffel Tower was lit up in the
colours of the most-supported
team on social media every day.
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Team
• Actress
• Director
• Cinematographer
• Camera operator
• Focus puller
• 2nd assistant camera
• Gaffer
• Props
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Electric List
• HMI 200W Joker K5600
Electric List
LED´s:
Flexlite Aladin
BifFlex 30x30 Aladin
Varsa Nila
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Methodology
• Giving the colorist the maximum of room to handle the hues of
colors
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USE OF WHITE BALANCE
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VARICAM LT
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VARICAM LT
SELECTION OF WHITE BALANCE
TO GET THE BEST SEPARATION OF HUES
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Analogy with a hand from which we separate and extend the fingers.
Goal: Preparing the separation/selection of colors
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During grading the colorist pull the phases of color which present an interest.
It’s not painfull.
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Increasing the saturation of a phase of color
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The lack of bit allocation is largely compensate by the 32-bit floating point
capabilities and the GPU of the grading suite.
Not to be done on the grading software of your laptop!
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Information in the trees due to:
• Shooting 1250 @ 5000 ISO Native
• Shooting w/o IR cut filter
• Selection of WB @ 2400°K
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Colorist
Jerome Validire
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CHROMINANCE SELECTION
Research
UNDER THE PONT ALEXANDER III
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Final grading
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Recorded image V-Log w/o IR cut filter
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Passage to B&W
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First grading
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Pass on Eiffel tower: selection of hue
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Pass on little girl: selection of hue on stars of the dressing gown
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Check in color
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Final grading
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CHROMINANCE SELECTION
Research
UNDER THE PONT ALEXANDER III
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Final grading
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Check in color
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Pass on little girl: selection of hue on stars of the dressing gown
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Pass on little girl: selection of hue on stars of the dressing gown
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Before After
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Before the hue selection
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After the hue selection - Final grading
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CHROMINANCE SELECTION
Research
THE STAIRS OF BERTON STREET
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Final grading
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Recorded image V-Log w/o IR cut filter
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Passage to B&W
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First grading in color - Selection of hue on stars of the dressing gown
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Final grading
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In this B&W research, I first started with François Paturel, cinematographer & DIT, Laurent
Desbrueres, senior colorist and then Jerome Validire, colorist at CINEMAGE post facility. The idea
was to find back the subtleties created by the shifts of values of grey.
For many years, whether in the camera menus with Christian Mourier (former engineer at Sony),
and with François Paturel, Olivier Garcia (DIT at HDSystems) and with Laurent Desbrueres in post,
I always aimed to modify the look of the image through the creation of ’’digital stocks’’.
Gamma curves played an important role, but what is less well known is the research on selection
and modification of colors.
In the work carried out on ‘’Escapade’’, there are a lot of similarities with what we’ve done in the
past, directly on the first digital cameras to modify color & B&W. A first approach in the camera
menues followed by an image processing in the grading suite.
A strong bias during shooting, without being able to step back, far away from the ‘’raw comfort’’.
Black & White in digital
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Black & White in digital
Black and White is not so often used in the feature films.
In digital the correspondence between the colors and their values of grey falls under the
same rules than in film.
The first digital cameras (4:2:2), in addition of an automatic desaturation, gave users the
opportunity to turn in Black & White through Matrix parameters (Matrix controls were
originally designed to turn from RGB to YCbCr). Instead of desaturing colors, we could
create a B&W image with different values of grey.
A fastidious work but with interesting results far from the usual B&W.
(see next page)
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We can see this specific application: ‘B&W and Colour’’ with a customized Matrix control in B&W with
a single retained phase of color - during shooting - in this short demo film: ‘’Gare du Nord’’.
http://www.philipperos.com/content.php?id=11&page=1
Old HD movie with obsolete
cameras, but with strong bias
during shooting.
Strong bias on which, Laurent
Desbrueres, senior colorist,
just crushed the black level
and reajusted the color.
http://www.philipperos.com/content.php?id=11&page=1
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Point of view on camera and on grading session
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Even with this recording format: AVC-Intra 4K 10-bit 4:2:2, we had important
possibilities during grading.
This test made with little amount of light shows that with more lamps or when
shooting daylight, the camera - without IR cut filter & with color temperature
adjustments - combined with grading, can give huge artistic possibilities.
The panasonic V-Log has proven to be highly successful for these precise
selections of color to turn finaly in B&W
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Imago
European Federation of Cinematographers
Committee for Creative Technologies in Cinematography
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Filmmakers
Cinematographers
Colorists
What do we need?
What do we want from manufacturers?
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Maximum of control on workflow
Friendly, simple menus
Maximum of open parameters on camera
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THE TEAM AND THE SPONSORS OF ESCAPADE
Special thanks to all of you!
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STARRING
APPOLONIA ELIA AND BEN ELIA
PRODUCERS
BEN ELIA AND PHILIPPE ROS
WRITTER & DIRECTOR BEN ELIA CINEMATOGRAPHER PHILIPPE ROS AFC
EDITOR CLAIRE BALBUSQUIER
COMPOSER, SOUND DESIGNER & SOUND MIXER CHRISTIAN FABRE-DIT-GARRUS
PRODUCT MANAGER VISUAL IMPACT OLIVIER CARTIER
COLORIST FINAL GRADING CINEMAGE JEROME VALIDIRE
SENIOR COLORIST FREE LANCE - RESEARCH & TESTS LAURENT DESBRUERES
CAMERA OPERATOR JOHAN JOLIVET
FOCUS PULLER TONINO DE MARCO
SECOND ASSISTANT CAMERAMAN JORDAN BAUDIQUEY
SECOND ASSISTANT CAMERAMAN/TESTS SIMON FERAY
GAFFER CAMILLE BENOIT GAUDIN
SFX & PROP SPECIALIST OLIVIER ZENENSKI
PROP ASSISTANTS FLORA ZENENSKI AND JONATHAN ZENENSKI
SPECIAL THANKS MICHEL BENJAMIN, FRANÇOIS PATUREL, ANNIE LIGEN AND LUCIEN & MADY ELIA
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THANK YOU!
Philippe Ros - Cinematographer AFC
www.philipperos.com
2016
http://WWW.philipperos.com