Fix it in post...WTF!

What has happened to the integrity of the craft of filmmaking? There once was an attitude of keeping the level, the quality of the image superior, but lately I've seen the opposite.  I've seen DP's make huge mistakes, in their exposure and in their color settings.  Either it's ego, or incompetence, but it's a problem that is hurting the very image that they are so desperately trying to produce.  It's funny that I see two sides of the equation, one side is that DP's fear that their work will be manipulated in a way they don't approve, and that they become some cog in the production machinery, where their work has no style or substance, or they work as a part of the production, delivering a product that works to the benefit of the production.  I see the DP's working to achieve a look to define themselves, but they do so with reckless abandon, STOP getting in your own way, and don't be afraid or stubborn to receive good info from your AC's or DIT.

Working in the new digital cinema is different than working in film, and each camera has it's own palette, that a DP should learn and use to his/her benefit.  I've shot commercial photography for more than most DP's have been alive, but I understand the balance of delivering a quality product, to deliver a great final product.

Shoot it right in camera as much as you can.  Not all jobs have a budgets or time to be perfect, but be perfect when you can.  Don't rely on some colorist to fix your mistakes.  Unlike a still photographer that follows his work from camera to delivery, most DP's leave their work when they leave the set.  If they make mistakes, those mistakes are corrected by a colorist in post production.  When the DP finally sees his/her work, it looks better, and most often they think they did a great job, no, the colorist did a great job saving your project.

There is no free lunch.  For every under/over exposure, every incorrect color setting, their is a consequence.  You cannot correct without damaging your image quality, period.   Most feel they can get by being sloppy, it's very common today, blown highlight, underexposure to the point of no information at all.  This is not rocket science, shoot smarter, shoot better, be a contributor to the filmmaking process, and not the loose canon, or ego maniac.

I believe it would be in every DP's best interest to go back to school and learn how to shot digital, learn why to shoot a gray card, learn or re-learn the basics, because in the end, it will only serve you well.

As a commercial still photographer, I know most cinematographers if given a still assignment, would fail.  Why, because they cannot light, and they cannot make a single image beautiful.  I'm not saying all, but most.  This is a challenge to all DP's, make beautiful images, one frame at a time, don't sabotage your work for fear of a colorist or editor ruining it.  Deliver the very best image, the very best color, the very best exposure to insure your projects success.  Don't be afraid, or fear will be your enemy.

For those of you that just got in the business, learn how to shoot, don't be a hack!!

The New Sony F55 4K Camera

I recently spent a day over at the Sony lot on Stage 7 learning about the New Sony F55 4K camera.  I have to say I was very impressed, not only by its looks, form factor, ease of assembly, but also how simple it was to navigate the menu system.  You can literally have this camera ready to shoot in less than a minute.  First the body, PL adapter, lens, top handle, EVF, either battery adapter or optional RAW recorder w/battery adapter and then battery,  and you're done.  It's well made and solid.

Everything about this camera says pro, they have worked through a lot of the issues that have plagued other digital cinema cameras, and come up with a winner.  Here's the plus, the image quality, it's fantastic, and after being a RED fan for years, I would be inclined to shoot my next project on this camera, in 4K of course.

By the way, these photos were shot using the Canon 1DX, at 6400 ISO

Von