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September 2011

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Digital Cameras & Post How the game has changed. By Clint Milby Arri's Alexa outputs HD SDI uncompressed or a 12-bit Arri RAW file. Camera technology is moving at lightning speed. HDSLRs revolutionized image capture through their lightweight bodies and mas- sive sensors, and the major camera companies have been trying to meet this model in order to reclaim their portion of the market. Additionally, because HDSLRs come in the form of a consumer still camera, many cinematographers have opened their minds to various other cameras that, just a few years ago,would have been totally overlooked as an option for profes- sional image capture.The result is a mixed bag of incompatible formats resulting in some overwhelmed and addled editors. What's good for shooters isn't necessarily good for post professionals. As Larry Jordan of Digital Production Buzz says, "While it's nice to examine the world-view of media, down in the trenches of editing, life is not rosy.The acceler- 28 Post • September 2011 ating trend of editing media shot on anything and everything means editors are constantly grappling with making sense of mixed format media, with all different image sizes, frame rates, codecs and quality." Fortunately, many camera manufacturers are working closely with NLE makers and others to ensure their cameras produce footage that not only looks great but also fits nicely into the workflow of editors and colorists. To get a better perspective on what colorists are seeing, Post reached out to New Hat, a nonlinear-style telecine boutique in Santa Monica. Since 2008, New Hat has been providing digital color correction for commercials, television and music videos, as well as for documentaries and feature films. New Hat technical director Mike Lafuente has seen numerous new projects made up of myriad types of footage, from a variety of cameras. www.postmagazine.com

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