This article is the second part of a series of articles about HDR production and resulting implications on the film set. Overall, the series covers typical use cases, presents best practices, and offers insights for setting up all required devices and systems. In this second article, we will talk about all camera and monitor settings that are relevant in the context of HDR viewing. We will also illustrate how to set up and configure Livegrade and the processing devices such as LUT boxes.
This is the first part of a series of articles about HDR production and the implications on the film set. The series covers typical use cases, presents best practices, and offers insights for setting up all required devices and systems. In this first article, we want to lay the foundations by discussing a few central topics: First, we cover the motivation behind using HDR technology for on-set activities. This understanding lets us derive specific requirements and consequences for camera departments generally and the DIT cart specifically. We also provide an overview of the required equipment.
Pomfort products such as Livegrade Pro and Silverstack Lab come with a broad range of color grading features and share the same, flexible concept of grading nodes. In this article, we want to take a look at what you can do with these grading nodes, illustrate a few best practices for using them in real productions, and point out the consequences for the production’s color pipeline and workflow.
The film set is the origin of a huge part of the creative work for a film production. The camera department’s responsibility in particular is to deliver the best possible images – as close as possible to the artistic intent of the DP.
When working with a high end digital cinema camera like the Sony Venice, it is important to understand the color settings that affect the appearance of the image. This is important to be able to maintain consistent image results throughout the complete production process, on-set across multiple shooting days as well as predictable image results in the post production phase.
When copying camera footage, most operators are familiar with the importance of verifying a good copy. ‘Verifying’ in this case usually refers to verifying the destination, e.g. making sure that the copied file at its destination are the same as on the source location. However, another possible process is often not mentioned in that context – and that is the source verification.
When creating dailies on set or near set, you want to create them in a way that makes the following production steps as smooth as possible. Passing on relevant metadata together with the transcoded clips can contribute to that. In this article we will evaluate the benefits of passing on metadata together with transcoded clips, introduce different ways of doing so, and explain how Silverstack Lab helps with it.
Your computer’s built in file manager is a great tool. It’s great for finding and accessing certain documents, and for moving single files, e.g. onto a USB stick. However, when it comes to copying professional camera footage, the Finder should best be avoided.
Everyone who copies digital media files will probably experience this at some point: You’ve successfully set up your equipment, started offloading the first files… and notice that the copy speed is much slower than you were expecting. If you are in this situation, you will probably want to understand where the slow copy speed comes from and fix it. But what’s the best way to go about this?
In order to achieve a high transcoding speed, it is important to choose the right CPU and GPU power to work with. But in which cases should you boost CPU, and when does it make sense to focus on GPU instead? Our infographic will help you find out.