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July/August 2024

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ee Filters showcased its latest products and services at Cine Gear Expo LA 2024. The show had great energy, with vendors showcasing new tech and industry professionals sparking crucial conversations about the current state and future of filmmaking. I have always attended the expo because I love the people in our industry, but also because I believe it is important to stay informed on the latest innovations and technology. It shapes the direction we take and helps us uncover solutions to the challenges we face. With this renewed sense of energy at the expo, it was fascinating to see how these trends are impacting the business-side of filmmaking and the needs of produc- tion. Attending this year also provided an opportunity to reflect on Lee Filters' product line and how we can continue to address those evolving needs. A changing landscape The innovation on display at Cine Gear Expo reflected a landscape evolving at a rapid pace. For instance, the emergence of Apple's Vision Pro is an interesting area. It requires that both camera tech- nology and content creation workflows evolve and converge to address this uncharted territory. As with format inno- vations of years past, this new frontier promises to revolutionize filmmaking on both the equipment and content sides. We have reached a point where cram- ming more pixels into a frame and basic 3D/AR implementations is not enough. Apple's work with Vision Pro seems to be a significant leap forward, or maybe more interestingly, in a different direction altogether. This new approach requires new hardware and workflows to realize its potential. It is a clear sign that the future of filmmaking goes beyond just maximizing imaging parameters. It is about embracing new methods of cap- turing and delivering stories. Adapting to the new era In addition to a changing landscape, we are living in a new era of content creation and distribution. There is a growing chasm between paid work and user-gen- erated content on platforms like YouTube and TikTok. The exciting part is that there is no excuse to not make content and get it out to the world. That is the part that used to be difficult, but now it is simpler thanks to free platforms and more affordable, capable equipment. On the other hand, it has been a challenging time for paid work, whether it is a studio picture, documentary or an independent film, you are self-financing due to shifting sands in the external macro-economic forces of our industry. We all know that AI is a prominent top- ic, not only in the media & entertainment industry, but across all sectors. There are various opinions, but it is imperative that we understand the difference between automation and true AI relative to our space. These are two very different things, but we have gotten into a habit in the post production space of touting au- tomation as AI. In post production, tasks like logging, capturing footage, transcod- ing or audio syncing are often tedious and time consuming. Automation has always been a goal in this field to handle the minutiae while enabling artistry like editing, visual effects and color grading. While automation streamlines a wide range of tasks, it is important to recog- nize where a human touch is still a critical contribution. For example, while auto- focus technology has come a long way and been around a long time, there is a reason experienced focus pullers remain crucial on-set. Their expertise ensures emotion and precision, and this approach balances efficiency with skilled labor. In many cases, a rack focus is inspired by instinct — a motivator that speaks to us on an emotional level and is still un- achievable by machines. As filmmakers continue to embrace evolving technologies like LED lighting, having a more comprehensive under- standing of the tools at our disposal becomes even more crucial. More control equals more creative options. More cre- ative options equal more decisions that need to be made. One key area to consider is the con- tinued relevance of traditional lighting filters. Even with advancements in LEDs, there are two primary reasons why tra- ditional filters are important. First, many productions still use a mix of traditional lighting sources, like tungsten, HMI and fluorescent fixtures. These traditional fixtures, along with fixed color tem- perature LEDs, rely on gels for color temperature adjustments, and in some cases, color shifts caused by dimming. Second, LEDs can have inconsistencies in color rendering, which filtration can address. The consistency filters provide translates throughout the entire imaging pipeline, impacting the image quality and the color-grading process. This equates to less time spent on technical correc- tions, granting creatives the freedom to achieve their desired look. In essence, fil- ters bridge the gap between established techniques and new technologies, allow- ing filmmakers to adapt their workflows while maintaining artistic control. One of the first steps in maximizing the utility of our technology is to un- derstand its limitations and the options available to work through or around them. And lighting gels have provided just that for over 50 years. A partner in creativity At Lee Filters, we understand that pro- duction needs to move fast. That is why we created our Compact Roll line, which is our traditional four-foot gel roll cut in half on a 1-inch core. Developed with the independent content creator in mind, the two-foot roll is a convenient size with the same quality as our standard four-foot rolls. The line focuses on the 11 most pop- CINE GEAR EXPO AND THE FUTURE OF FILMMAKING BY JEFFREY A. REYES US GENERAL MANAGER LEE FILTERS (A PANAVISION COMPANY; ASC ASSOCIATE MEMBER) LEEFILTERS.COM ADAPTING TO A CHANGING LANDSCAPE & A.I. WITH INNOVATION L PRODUCTION www.postmagazine.com 22 POST JULY/AUG 2024 A Lee Elements circular filter.

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