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Ironically, teal and orange reached its peak with tranformers. With the rise of RED cameras (which have useless colour reproduction) we've gone the opposite way

Ironically, teal and orange reached its peak with tranformers. With the rise of RED cameras (which have useless colour reproduction) we've gone the opposite way, low contrast, lots of grain. http://emertainmentmonthly.com/wp-content/uploads/2014/10/intothewoods.jpg http://emertainmentmonthly.com/wp-content/uploads/2014/10/in... (warning, 5k image) http://applications.creativeengland.co.uk/assets/public/redactor_images/e10892d041ac4eaf76778da4c7730d8f.jpg http://applications.creativeengland.co.uk/assets/public/reda... note the softness on james corden's face, thats most likely someone painting out blemishes. Fun fact, virtually any special effects movie that you've seen since 2000, all the film grain you see, is faked. So the people who bemoan the loss of grain with the move to digital need to reassess what they are saying: http://conradolson.com/frame-by-frame-painting http://conradolson.com/frame-by-frame-painting

sandofsky 12y ago
I'm curious about what the makes the colour reproduction useless. Based on the low contrast comment, I'm guessing it has to do with the log color space?
- Matsta 12y ago
  It's true to a point, the RED isn't the best camera at reproducing colours. But then again most of the time you're going to be filming in RAW so it doesn't really matter as much since you get a flat image in post that you can grade. An advantage the RED cameras have say over a Alexa is that they can film in 4k,5k,6k (Alexa only shoots in 2k). So that you can get a sharper image by editing in 6k, and then exporting in 4k or 1080p. If you look at video cams for projects that need to be finished quickly, of course your not going to choose a RED. Canon Cinema Cameras (c100, c300) have the best colour science out of everyone (Sony and Panasonic are known to have pretty average colour reproduction). The only downfall with Canon cameras is that they use crappy codes and compression so when you start pushing to extreme looks, you'll get alot of noise and loose sharpness in your footage. I use Blackmagic cameras, which aren't know for their colours either, but they own the industry standard grading software (DaVinci), so it is quite easy to get your footage balanced before you do a grade.
mason240 12y ago
What movies are those from?
- KaiserPro 12y ago
  into the woods
conradolson 12y ago
I am the guy who did that paint shot you linked to above. I think you might have mis-understood a part of my post. We don't replace all of the film grain. We go to great lengths to try and maintain as much of the original grain as possible. We certainly add grain to anything we add to a shot but we go to great lengths to match the grain we add to the original grain. In the example you linked to, I did completely remove the grain from the image before I started to paint out the wire (the painting softens and blurs the grain). But I then took only the areas of the image that I changed with the painting, and but that over the original image, with the original grain on. I then only added 'fake' grain to the areas that I had painted. The grain that we do add to the visual effects isn't usually 'fake' either. The visual effect supervisor usually takes the cameras that production was using on set and shoots grain samples on the same film stock. We then add these samples back to our VFX work so they match the original footage. We all so have to do exactly the same with footage that comes from digital cameras but this is more 'noise' than grain. And if the footage came from a compressed source like a GoPro we have to match compression artifacts.

sandofsky 12y ago

I'm curious about what the makes the colour reproduction useless. Based on the low contrast comment, I'm guessing it has to do with the log color space?

Matsta 12y ago
It's true to a point, the RED isn't the best camera at reproducing colours. But then again most of the time you're going to be filming in RAW so it doesn't really matter as much since you get a flat image in post that you can grade. An advantage the RED cameras have say over a Alexa is that they can film in 4k,5k,6k (Alexa only shoots in 2k). So that you can get a sharper image by editing in 6k, and then exporting in 4k or 1080p. If you look at video cams for projects that need to be finished quickly, of course your not going to choose a RED. Canon Cinema Cameras (c100, c300) have the best colour science out of everyone (Sony and Panasonic are known to have pretty average colour reproduction). The only downfall with Canon cameras is that they use crappy codes and compression so when you start pushing to extreme looks, you'll get alot of noise and loose sharpness in your footage. I use Blackmagic cameras, which aren't know for their colours either, but they own the industry standard grading software (DaVinci), so it is quite easy to get your footage balanced before you do a grade.

mason240 12y ago

What movies are those from?

KaiserPro 12y ago
into the woods

conradolson 12y ago

I am the guy who did that paint shot you linked to above. I think you might have mis-understood a part of my post. We don't replace all of the film grain. We go to great lengths to try and maintain as much of the original grain as possible. We certainly add grain to anything we add to a shot but we go to great lengths to match the grain we add to the original grain. In the example you linked to, I did completely remove the grain from the image before I started to paint out the wire (the painting softens and blurs the grain). But I then took only the areas of the image that I changed with the painting, and but that over the original image, with the original grain on. I then only added 'fake' grain to the areas that I had painted. The grain that we do add to the visual effects isn't usually 'fake' either. The visual effect supervisor usually takes the cameras that production was using on set and shoots grain samples on the same film stock. We then add these samples back to our VFX work so they match the original footage. We all so have to do exactly the same with footage that comes from digital cameras but this is more 'noise' than grain. And if the footage came from a compressed source like a GoPro we have to match compression artifacts.