This article covers everything you need to know about on-set latency: what causes it, how to measure it, and how to optimize your setup to reduce it to a minimum!
When filming real-world subjects against an LED wall with pre-recorded footage, matching the color appearances of the background and foreground is crucial. But beware: “double tone mapping” could get in your way!
In this interview, DIT and colorist Justin Paul Warren shares his experience on a recent production where he strategically chose in-camera grading to meet the project’s demands. Although he’d only tried this approach once before, his cross-departmental experience helped him recognize its potential to streamline workflows and simplify his many responsibilities.
Welcome to the third and final article of our content series on in-camera grading! This time, we focus on an in-camera grading workflow with the Alexa 35 and Livegrade but use custom color management instead of ARRI’s standardized DRTs.
This is the second article in our three-part blog series on in-camera grading. In the following, we’ll discuss how to grade an Alexa 35 directly in-camera to manage dual-monitoring setups for SDR and HDR.
This article kicks off a three-part blog series about the concept and process of in-camera grading. The first part explains what in-camera grading even is, why it’s worth exploring and how to get set up with Livegrade.
Leveraging Pomfort’s support of various controllers can greatly impact your work on set. In this article, Livegrade Pro user Jason Naran and Silverstack Lab user Ant Thonton share with us how they integrate Stream Deck devices, and the impact it has on their jobs as a DITs.
Camera metadata doesn’t play a huge role on set, so why is it important? The answer to that question lies deep within post-production workflows. In this interview, Digital Cinematography expert David Stump shares insights into the importance of metadata through his own experiences in various post-production roles.
Digital film cameras automatically generate timecode upon recording. In this article, we discuss how timecode is used for some tasks like syncing audio and offline editing and conforming, as well as its limitations as a way to uniquely identify individual frames shot during a film production.
In this article, we consider the concept of individual LMT and 3D LUT transforms. Typically subject to overlapping roles, ACES, and different camera vendors propose to better define each role more distinctly through individual transforms.