Thread: HDR vs compression question

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  1. #21  
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    Dec 2009
    Hollywood, USA
    Quote Originally Posted by Blair S. Paulsen View Post
    Perhaps more important to this community, is who gets to judge the HDR version's fidelity to original intent. In the US, most producers will not pay a DP to be in the color suite and may not even allow them to attend. In such a collaborative art, who is the "artist of record"? Typically the entity that funded production retains all rights, including creation of versions aimed at specific channels of distribution. Some filmmakers, Woody Allen for example, are able to secure durable creative control via contract provisions. That said, in far more cases, a title is resold or otherwise transferred to a party who had nothing to do with the creation of the work and can exploit it in virtually any manner they choose.
    One thing we can and will do for "budget-challenged" projects is we'll come up with a price range and basically tell our clients, "OK, that will cover one 10-hour day. In that amount of time, let's take care of the most significant problems first, and then with the time that's left, we'll do some overall looks that will make everything look reasonable." You're not going to get perfect, precise work in 10 hours. Reasonably speaking, even a 1-hour network show takes two days (particularly if it's cutty and the filmmakers want some creative looks). Total creative control where you're spending 2-3 minutes per shot is not going to happen unless you have a fairly healthy budget and oodles of time. (Interestingly, in television, the producers generally are the ones with all the creative control. The DPs generally only come in for the pilot or the first show or two to set an overall "tone" for the project, then we stick to that for the duration of the show.)

    But a dozen complex scenes with a vast dynamic range are fixable to a point, even in a low-budget project. You can pull a key on the sky, knock it down 2-3 stops, and bring up everything around it so they're both in the same ballpark. Or you could approach it as a visual effect and have external mattes built, then use those for color correction. As long as the camera hasn't blown out the highlights or crushed the blacks, you've got a fighting chance of making the shot work for TV or theatrical.
    marc wielage, csi colorist/post consultant daVinci Resolve Certified Trainer
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  2. #22  
    Senior Member Gaston Fazio's Avatar
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    Oct 2007
    Miami, FL
    Thanks ALL for the inputs!!!
    Really appreciated...

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