If you are an indie producer, new media filmmaker, director, editor, cinematographer, post production supervisor or DIT–and you live in Los Angeles, here’s an opportunity to take a look at some “new approaches to old problems” in production and post. Full disclosure: I will be moderating an all-day seminar, on Saturday March 27, in North Hollywood that is co-sponsored by Gamma & Density and the Producers Guild of America New Media Council.
The focus is some of the stumbling blocks of the new digital format cameras, including the Red One and popular HDSLRs. The good news is that the availability and low prices of many of these digital cameras has made production more affordable for more people. We’ve truly seen the democratization of media production due to digital technology. But some of these digital formats can create unexpected issues; the cost of production and post can still be prohibitive. Moviemakers are also faced with new problems including data management, digital camera preparation, color consistency and other unanticipated parameters impacting quality.
“Digital technology has a friendly appearance, but in a fact it is more complex than film,” says Neyman. “The fact that you can see the results immediately does not help to figure out how to repeat the same result or avoid the same mistakes. The amount of the knowledge required for managing digital images properly to its best potentialÂ quality exceeds many times a knowledge required for photo-chemical technology.”
Neyman notes that, with regard to technology, film was “completed and finished in the 1940s – 1950s. “Even if new film stocks,Â cameras and lenses appeared,Â they did not require cinematographers to upgrade their theoretical and technical skill,” he says. “Standards and acceptable practices were established and carved in stone.” With digital technology, experience and achievements in the film field are “not as valuable as they were. ” “The practical application of the technical revolution for cinematographers started from the introduction of nonlinear editing systems and led to telecine dailies, and then to a multitude of video and digital cameras with different resolutions, color spaces, and formats,” he says. “It is a continuously painful process for all involved: Â No standards, no established practices, no rulesÂ and a variety of choices, including those which are impossible to make for unpreparedÂ moviemakers.”
The seminar will take a close look at:
* A simplified workflow for the Canon 5D/7D HDSLR cameras
* A streamlined workflow for Red One (based on Gamma & Density’s 3cP)
* Easy data management solutions
* Inexpensive color corrected dailies on set
*Information about the actual latitude of most digital cameras and practical tips for using charts in production and post
*How to make the DI affordable
*Protecting the integrity of the “look” from on-set through festivals and release screenings
The seminar will be conducted by Gamma & Density founder, cinematographer Yuri Neyman, ASC (Liquid Sky, D.O.A. and others) and Bob Currier, (creator of the Color Finesse color correction system), who are the developers of the 3cP system. Jason Bauer, G&D Senior Project Manager, and Brook Willard and Tim Sutherland, established DITs and 3cP experts will also instruct. Subject to availability, producers of films that used 3cP may join the presentation.
Date: Saturday, March 27 from 10 am to 5 pm.
Location:Â Beverly Garland Holiday Inn, 4222 Vineland Ave., North Hollywood, CA 91602
Cost: $99Â (breakfast and lunch included). Discounts to members of PGA New Media, DGA, ACE, ICG, ASC, CML, HPA, DCS and students of film schools.
The Los Angeles-based Gamma & Density created and supports the 3cP on-set color correction, data management, and â€œall-in-oneâ€ system for any camera. 3cPÂ is aÂ user-friendly way for filmmakers to ensure the integrity of the desired look from on-set monitors, through DI to the screen. Based on an easy-to-use, patented system that controls the transfer of color information and data from any media to any media, 3cP is a common language between producers, directors, DPâ€™s, DITs and colorists.
The system is now being taught at the camera department at the Polish National Film School at Lodz, and in the Australian Film and Television School (AFTRS). In the Spring, it will also be taught to editors and animators in LA-based Studio Arts school .
Gamma & Density Co. & Alga Panavision France developedÂ a mutual workflow that is used for productions in France and EU countries.
Films/TV shows that have used G&D’s 3cP include Southland, The Tudors, Iron Man I and II, State of Play, Quantum of Solace, October Road, The Kite Runner, 10,000 BC, The Messengers, Babel, Low Life, Mr. Woodcock, Stranger Than Fiction, Yours, Mine & Ours, Fun with Dick & Jane, Factotum, Their Eyes Were Watching God, and many others.
Topics: Blog 3cP Alga Panavision France Australian Film and Television School Cameras Canon 5D/7D HDSLR charts Cinematography Color Correction data management digital camera latitude digital camera preparation digital intermediates digital workflow DIT dslrs finishing Gamma & Density PGA New Media Council Polish National Film School Post-production Producers Guild of America Production RED One Studio Arts television Useful Tools
Did you enjoy this article? Sign up to receive the StudioDaily Fix eletter containing the latest stories, including news, videos, interviews, reviews and more.