Webisode on WIGS Channel, profile of Von Thomas DIT

WIGS has just posted a profile of my DIT workflow on the webisode channel WIGS.  Please check it out by clicking here or image below.

Von

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

Revolution Cinema Rentals - One stop DSLR rental service

Ok, so you have a shoot coming up. You've decided to shot this on your Canon 5DMK2, 5DMK3 or your new Canon 1DX, or your Canon 1C (if you're so lucky), but how do you outfit it with all the necessary accessories (cameras, lenses, cages, monitors, follow focus, etc), and where do you get them? You can go to a typical camera rental house (where you'll have a small selection of options), or you can visit the guys at Revolution Cinema Rentals, the new rental house specializing in DSLR cinematography.

RCR has everything for shooting your small cameras in practically any environment. This is the place where Shane Hurlbut shops, (DP of Act of Valor , shoot almost entirely on Canon DSLR's).  So you can understand the level of gear these guys have.  Scott, Q, Freddy and Amanda can help sort out your DSLR needs.

 I had the opportunity to have my Canon 5DMK2 and 1DX outfitted for a job the other day.  I went through the normal camera prep, Freddy one of the key prep techs (very friendly and patient), carefully went through building the perfect rigs for my project.  Asking questions along the way to make sure I had everything I needed for the job.  Let me say, this is not your ordinary stills / camera store rental dept, this is a cinema rental house that specializing in the small still cameras that shoot HD video. Now mind you they also have other camera offerings, Canon C300 and 500, and have amazing rigs and accessories for these as well, plus RED Epic, Arri Alexa, and Sony F65.

I have to admit but shooting with the DSLR's is becoming more and more mainstream for shooting Web Series, TV, Features and Commercials.  Even I, Mr. Shoot it on RED now loves to use my DSLR whenever possible.  The level of quality these cameras can now attain, is simply amazing.  I'll go into more practical application in next entry.

Von

canon, DSLR, 1DX, 5DMK2, 5DMK3, C300, C500, 1DC, rental, digital cinema,

Post #1 2013 It's all about the Canon 1DX!!

It's been a while since my last entry. I guess I should start the year out by saying Happy New Year, and I wish success and happiness to all.

 This year I concentrating on a few things, and I hope they interest you.  As you may know, I've been involved in digital cinema as a consultant to directors of photography, production companies and post houses for on-set color correction and dailies delivery.  I will continue to update you on new and current workflow and gear to improve your working experience.

 I'm also diving back into my first love, photography, and plan to do a variety of still shoots, both fashion and advertising, as well as the big leap into the area of cinematography.   In fact I recently acquired a Canon 1DX full frames camera.  I have to say, this is one of the best cameras I have ever owned, and I've owned quite a few in my 30+ years as a photographer.   The very first time I used it was over the holidays. I documented a friends live singing performance in a very dimly lit night spot in downtown Los Angeles.   Light level so low, I had to crank the ISO up to 5000, yes, 5000, and the results were amazing.


                                          

I'm also involved with web series, or webisodes, and will give you some of my experiences working in this new emerging industry. Von-

Correct Color on-set every time

To take a video (non RAW) image and manipulate it, is in fact tearing the image. This is the test we did back in the day. Open a fresh unaltered 8 bit jpeg image in PS, look at he histogram. The histogram has continuous information, now tweak it, crush the blacks, lift the highlights, alter the color, and finally check the histogram again, now you see a histogram, but with a less than perfect flow of color (missing data) information, the comb effect. Here is an example of a badly exposed 8 bit image and it's histogram, and attempt to correct it, with the resulting histogram, notice the difference in the two. This effect happens as a result of image manipulation with an 8 bit non RAW image. If a color meter was used to dial in the temp, the results would have been much better, that said the girl is still very cute.

Now if you shoot underexposed, if you shoot without proper (correct) white balance settings on non-RAW cameras (Canon C300, Sony F3, Arri Alexa Log C), and have to adjust later in post, your image will be damaged to some degree. The ability to dial in your exposure as close as possible, and to dial in your white balance will insure less damage to your image, resulting in better image quality. I notice this when I DIT non-RAW cameras. So how do you make your files better? First, expose correctly, try to avoid under exposing (for the look), this will not give you the best image quality. Did you know most all you color fidelity information is in the top third of of the exposure range. By under exposing, you throw that info away (you can't get it back in post). Second, use a color meter, like the Sekonic C-500. It will give you accurate color temperature measurement, and now you don't have to stretch the file to pieces to correct the color in post. I also suggest you shoot an 18% reflective gray card as a reference. Today I used the Sekonic C-500 ProDigi Color Meter on set. This is a job shooting car accessories for Nissan Motors. Typically the color balance is guessed, but not today, it was dialed in because I had an accurate color measurement device. Once this was applied to the Canon C300, the results were predictable, perfect neutral image color. Now I can quickly grade, not try to find the normal color, but by being creative, and applying a beautiful grade quickly. Von

My DIT article on Creative Cow

I wrote a comprehensive article for Creative Cow, and it was published today.

The link is, A DIT Tells All.

I hope you enjoy it.

Von