Post Magazine

March 2012

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post positions A creative evolution O ver the last five years, significant technological advancements in the digital workflow have propelled the By MARTIN BENNETT Managing Director Media Business Unit Image Systems Linköping, Sweden www.imagesystems.tv post industry into extreme adaptation and innovation, while traditional creative roles within the post facility environment have changed accordingly. The next generation of colorists are hon- ing their craft on software-based systems rather than the traditional linear- based telecine workflow, often learning editing and visual effects skills right alongside grading, pro- viding a sound all-around knowl- edge of processes within the post house. The benefits of file-based Protecting the creative craft of post production. workflows are vast, including greater efficiencies in time, cost and flexibil- ity over linear methods as well as more granular control over the editorial process. There is a risk, however, that as digital tech- nology and workflows evolve, the scientific knowledge gained in the telecine and hard- ware environment is being lost. The previous generation of colorists who cut their teeth in the traditional tape-based world provided a link to manufacturers for creative develop- ment, with tools being built around their requirements. Today, the proliferation of plug- ins and a trend for free downloads means that the knowledge base of how and why those tools were developed is vanishing, denting the creative process. THE COLORIST & DI The role of the colorist has changed signifi- cantly with the development of the digital off on the final version for delivery. What is happening now, and what is impor- tant to understand, as UK-based freelance col- orist Kevin Shaw (www.finalcolor.com) explained to me, is that the true DI workflow process now revolves around the colorist. This understanding is key for new colorists the new DI grading features that are now available. We're going through a transitional period where people are trying to cut corners — which is understandable given the current economic climate — but it's quickly becoming apparent that you can't undervalue the grad- ing process if you want a high-quality finish." Colorist Kevin Shaw used Nucoda Film Master while grading the documentary Our Land. Our Land: Shaw worked out of Fame in Bangkok. 42 intermediate workflow. In the linear world, the editor was the key player in post, sending material to the colorist for grading, which was then sent back to the editor who would sign Post • March 2012 coming into the industry, as well as develop- ers of software. Shaw noted that now the responsibility of the colorist is to grade and finish the project, which means conforming titles, audio checks, visual effects checks and so on. The depth of experience and knowl- edge of what can be fixed prior to delivery falls quite heavily on the colorist's shoulders, and to have knowledge of the science and background of grading makes it easier to make those decisions. "Because CRT monitors have been replaced with various LCDs, plasma screens and projectors, the only place where there is anything close to a calibrated monitoring set- up is the grading suite," said Shaw. "It's very common to pick up focus problems, cables in the shot, reflections, things that have gone all the way through post production and didn't get noticed until they were seen on the large calibrated screen in the grading suite. These problems have to be dealt with by the color- ist, even if it means sending it back to the editor or back to the VFX facility." He added, "Very low-cost grading systems and color tool add-ons may even encourage this problem, as there's a temptation to use a plug-in and call it color correction. That's when you're actually not taking advantage of all of www.postmagazine.com Shaw recently worked on the doc Our Land and was challenged with making sure new and archive footage matched while still maintaining a modern look. "I relied exten- sively on the DVO restoration tools in Film Master to match the archive film elements to the new Red footage, and the director's con- siderable knowledge of Thai culture and poli- tics, to find color styles that would reflect the popularity of the King." Given the dynamic nature of technology, and the influx of filmmakers who have been freed by lower cost tools and solutions, there are a number of challenges presented in the finishing process: new users, new tools, lower budgets. However, if just one percent of this huge new market decides to take their proj- ect to a specialized facility that can grade and finish it professionally, it's a significant number, and that's positive step for the industry. Broadcasters also face huge budget con- straints resulting in a proliferation of fast turnaround programming with the emphasis on speed. Again, this highlights the fact that a lot of people are still working in a very linear post production workflow — they shoot, edit and grade sometimes as little as 12 hours continued on page 47

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