My god (if there is one). Amazing when you get to the topic of Re-releases of all the classics in Theaters, and the shock therapy behind being part of a shot that later was edited, sound designed, color graded and musicalized, and then experience the scene on a good theater with good image projection and good sound system. More than beautiful. I also constantly get tired of my creations and want to see how others use my ideas into something I can't recognize I did, but at the same time that result becomes a moment beyond inspiring, in my life.
I think it's great that these discussions point to other great ressources, e.g. the Ansel Adams books in your discussion with Richard Rutkowski or the Master Shots books in another one ... here it's the document about Dune Part 2, which I did not know about, and which is awesome. ... Regarding your discussion about Nikkor lenses and anamorphics ... I tried mine with the Sirui 1,25x adapter and thought it looked pretty amazing. It's obviously not the strongest anamorphic look, but I thought that the abberations of the Nikkor lenses in combination with the Sirui adapter (which is pretty clean) led to a quite nice look, especially in the focus fall-off and Bokeh.
Stimulating discussion as always. Very interesting point about cameras being too good. However I don't think there is a way back to "different cameras/film stocks as different paint brushes" days. As cameras come down in price, they have to be everything to everybody to make any business sense. You can really see the homogenisation in shape (every camera is a box now, except 4D) and look (everything trends towards more raw / pliable / neutral look, shifting the look creation to post). What's more likely to change is the scope of responsibility and expertise of a DP. You kind of have to be a colourist to some extent and understand the whole signal chain and imaging pipeline to make informed decisions on set. With newest ML tools and believable relighting in post, you kind of have to know what can and cannot be done in post and in what time and with what quality. I can see director of photography transforming into the "director of imaging" or some such, reflecting how the look creation extends into post. It really has to be the same person for the artistic intent to carry through. Otherwise we'll have stuff like DP shooting with nostalgic texture on A35 and the colourist then using neat video to get rid of it. Or making stuff look too polished that it loses authenticity and believability (which I think plagues modern HETV). Anyway, fascinating stuff!
Yeah you're on the right track but *potentially* overthinking it. Film stocks were always a choice, they'd be very influential in your look prior to the DI being widely adopted. That's why 5219 (the only stock, really, that Kodak makes now) is so "neutral"; it's made to be scanned and graded. Cameras used to be really different but no one really WANTED that, necessarily, it was just like "oh it is what it is, which one is best?" The reason cameras all are going raw/box is because if we're just capturing data to edit, that's the most ergonomic and best for post. That's also why we're seeing bigger sensors become popular; that's where you can see some difference even in that "raw" space. I don't think anyone is truly looking at AI for look development yet, but you're certainly right that every DP is heavily involved in the initial look development, usually designing one or multiple shooting LUTs per project. But also, those discussions should happen before the shoot starts. If someone is baking in a look/texture the Colorist should NEVER be adjusting it after. That's a sign of poor management and an overbearing producer, most likely.
Interesting conversation, however I feel like you should have Greg talk more instead of you doing most of the talking - just a little criticism, no hate. all love for film thanks for the good work❤
Yeah normally it comes off a bit better but a) I couldn't see him so I couldn't read his facial expressions to know when to start up again 🤦♂️ and b) I had to cut out a big chunk of him talking for NDA reasons haha. That was my bad, I shouldn't have asked what I asked, that was from his mouth to gods ears
My god (if there is one). Amazing when you get to the topic of Re-releases of all the classics in Theaters, and the shock therapy behind being part of a shot that later was edited, sound designed, color graded and musicalized, and then experience the scene on a good theater with good image projection and good sound system. More than beautiful. I also constantly get tired of my creations and want to see how others use my ideas into something I can't recognize I did, but at the same time that result becomes a moment beyond inspiring, in my life.
heck yeah man
I think it's great that these discussions point to other great ressources, e.g. the Ansel Adams books in your discussion with Richard Rutkowski or the Master Shots books in another one ... here it's the document about Dune Part 2, which I did not know about, and which is awesome. ... Regarding your discussion about Nikkor lenses and anamorphics ... I tried mine with the Sirui 1,25x adapter and thought it looked pretty amazing. It's obviously not the strongest anamorphic look, but I thought that the abberations of the Nikkor lenses in combination with the Sirui adapter (which is pretty clean) led to a quite nice look, especially in the focus fall-off and Bokeh.
Alright alright alright
Good grief Greig Fraser!
Stimulating discussion as always. Very interesting point about cameras being too good. However I don't think there is a way back to "different cameras/film stocks as different paint brushes" days. As cameras come down in price, they have to be everything to everybody to make any business sense. You can really see the homogenisation in shape (every camera is a box now, except 4D) and look (everything trends towards more raw / pliable / neutral look, shifting the look creation to post). What's more likely to change is the scope of responsibility and expertise of a DP. You kind of have to be a colourist to some extent and understand the whole signal chain and imaging pipeline to make informed decisions on set. With newest ML tools and believable relighting in post, you kind of have to know what can and cannot be done in post and in what time and with what quality. I can see director of photography transforming into the "director of imaging" or some such, reflecting how the look creation extends into post. It really has to be the same person for the artistic intent to carry through. Otherwise we'll have stuff like DP shooting with nostalgic texture on A35 and the colourist then using neat video to get rid of it. Or making stuff look too polished that it loses authenticity and believability (which I think plagues modern HETV). Anyway, fascinating stuff!
Yeah you're on the right track but *potentially* overthinking it. Film stocks were always a choice, they'd be very influential in your look prior to the DI being widely adopted. That's why 5219 (the only stock, really, that Kodak makes now) is so "neutral"; it's made to be scanned and graded. Cameras used to be really different but no one really WANTED that, necessarily, it was just like "oh it is what it is, which one is best?"
The reason cameras all are going raw/box is because if we're just capturing data to edit, that's the most ergonomic and best for post. That's also why we're seeing bigger sensors become popular; that's where you can see some difference even in that "raw" space.
I don't think anyone is truly looking at AI for look development yet, but you're certainly right that every DP is heavily involved in the initial look development, usually designing one or multiple shooting LUTs per project.
But also, those discussions should happen before the shoot starts. If someone is baking in a look/texture the Colorist should NEVER be adjusting it after. That's a sign of poor management and an overbearing producer, most likely.
Some great starting points for discussion but heavily interrupted by the host which meant that not much ended up being covered.
Interesting conversation, however I feel like you should have Greg talk more instead of you doing most of the talking - just a little criticism, no hate. all love for film thanks for the good work❤
Yeah normally it comes off a bit better but a) I couldn't see him so I couldn't read his facial expressions to know when to start up again 🤦♂️ and b) I had to cut out a big chunk of him talking for NDA reasons haha. That was my bad, I shouldn't have asked what I asked, that was from his mouth to gods ears