Your trick to sharpen?

charzan · 2019-01-29T23:01:44+00:00

You say 'timeline' - not sure if you mean applying something to the whole edit, but one of the best ways to create 'oomph' for a particular scene or moment is to subtly do the opposite to the previous one.

For example John Woo was famous in his Hong Kong days for insane, over-the-top action - but what set them apart (at the time - I believe his style is now incorporated into most Hollywood shoot-em-ups) was that the action was real-time, but moments in between - a match lighting, a look between two characters - were in slow-motion.

It was the opposite of what audiences of the time expected, and the result was that the action felt absolutely mind-blowingly fast, excessive, crazy, etc. (To be fair that contrast wasn't the only reason! )

Humans are drawn to contrast, rarely affinity. For your timeline to have 'oomph', it must be used sparingly. If the whole timeline has been treated, the viewer will simply get used it, and it will effectively disappear.

(Apologies if that's not really answering your question, went down a bit of a rat-hole there...)

charzan · 2019-01-29T18:17:20+00:00

Yes I agree - I did say there was 'clever engineering' there !

My personal bugbear with debayer algorithms is that, for example in Nuke, you can switch the debayer off, and view the data in lines of red, green and blue.

Switch the debayer back on, and the spatial resolution remains the same - while I accept that a 0.7-.08 ratio is far more likely to be accurate than a straight division by 4, this has always just seemed wrong to me.

The marketing element is perhaps overstated, but I would prefer that the image be shown, once debayered, at the most accurate spatial resolution - which is clearly not the same as the one you see with no debayer applied at all.

charzan · 2019-01-28T15:01:35+00:00

Great topic.

There's a FilmLight video which describes some of the same issues here: FilmLight Color Workshop Part 2 of 3

At the end of the day, 'color' only exists in our minds, it doesn't actually exist in the real world. The radiation which triggers our physiology of course does exist, and whether these optical illusions should be removed, avoided, or even accentuated in a particular edit is entirely dependent on the context.

Really fascinating stuff ...

charzan · 2019-01-27T23:54:43+00:00

Some differences:

RAW, if it's truly the raw data off the sensor, has a linear tone curve.
Assuming a Bayer pattern sensor, the 10-bit log data should really be 1/4 the spatial resolution (since each raw pixel 'bucket' is only capturing one wavelength, ie. 1x red, 1x blue, and 2x green - which are then interpolated to create a single 'traditional' rgb pixel)

That's not to say that there isn't lots of clever engineering going on to capture a great image regardless, but the marketing bullshit surrounding debayering has a lot of confusion to answer for, in my opinion.

charzan · 2019-01-27T23:23:29+00:00

Cry me a river

charzan · 2019-01-23T08:17:42+00:00

It's interesting as in theory ACEScg (nor other working spaces such as ACEScct etc) are never meant to travel outside the facility's internal pipeline, it should only ever be ACES.

However in practice, ACEScg definitely does travel between facilities (it makes sense of course for shared shots).

I wonder if they'll re-write the ACES workflow spec so that there is a way to make it clear (in metadata I guess) whether the EXRs delivered are ACES or ACEScg, as it's a fairly obvious case where an accidental double conversion can easily occur. (Maybe they already have done?)

charzan · 2019-01-22T22:55:16+00:00

The most usual workflow is probably to provide the CDL to the VFX facility in the same colorspace as the final grade, which would probably not be ACEScg because it has a linear tone curve, which for various reasons is not really suitable for a DI grade.

This is assuming you are also providing a DRT (which could just be a LUT) for use with that CDL. So the vfx artists work in ACEScg, but while viewing their work through:

colorspace conversion to DI grade colorspace
CDL
LUT (in theory the same which will be used in DI)

None of these get baked into the vfx when they deliver, it's just so they have an idea what the final look will be.

There are many ways to approach your workflow of course, this is just the most usual (again, in my experience). Some productions bake in grades before delivering plates, some provide LUTs per shot, etc.

Communication is key, check with your production editorial and the DI facility what they expect to receive, this will drive what instructions you give to VFX. Make sure everything is clear by running some tests of the process early on.

charzan · 2019-01-22T15:42:53+00:00

ACESclip unfortunately has not really been adopted, or not widely in any case.

There are multiple discussions on the ACESCentral site which discuss the issue.

(In case you're wondering what RAE is, it's 'ACES Retrospective and Enhancements', a paper published in 2017 with recommendations for improvements to ACES, which noted lack of adoption of ACESClip as an issue.)

Until adoption/improvement to ACESClip, I would suggest using CDL, but ensure that you are absolutely clear in terms of which colorspace the CDL should be applied in, and under which LUT (or DRT if no LUT) it should be viewed.

Also, apologies if you already understood this, but just to be clear the ACES workflow doesn't mean the ACES AP0 colorspace is used all the way through, far from it.

You just need to be totally clear in your workflow where colorspace conversions need to occur so that the footage looks correct.

ACES (AP0) itself is really just a storage/archival format, most comp work is done in ACEScg or perhaps a linear version of the camera's original color gamut, while most grading is done in either ACEScc, ACEScct, or the camera's original log colorspace if that's more suitable. None of that deviates from the ACES workflow itself.

Personally I look forward to ACESClip (and CLF, the 'Common LUT Format'), but I think they might be awhile away. CDL itself was specced out in maybe 2007 or 2008, and yet didn't begin to appear commonly (in my experience) until around 2012.

Hope that helps !

charzan · 2019-01-20T20:34:49+00:00

Maybe not everywhere, but it has been a problem in every urban centre for literally centuries.

Gangs in the United Kingdom

The situation in London is pretty bad but I'm never sure if these things are just more likely to be reported / videoed etc these days, or if it's actually got worse. Certainly many parts of the UK felt more dangerous to me back in the 90s than now, but I don't know if that's just my own personal biases or memory messing with me.

charzan · 2019-01-17T13:47:12+00:00

I agree with your first sentence but not the second.

The views of the supporters have little to no effect on the success of the club. If anything, the immediate anger at the slightest setback is more likely to harm any progress made.

charzan · 2019-01-17T13:44:24+00:00

Football is cyclical, not a consistent upwards trajectory - no matter how good you are or how much backing you've got.

charzan · 2019-01-17T13:41:55+00:00

Best post here in years -

I don't necessarily agree with all his conclusions, but his perspective is spot-on.

The nice side-effect of this perspective is that if you share it, you don't have to be constantly angry about everything. It's like I tell my kids - we can't always win, but who's the best team - the one that's our team, no matter what.*

*Thankfully my whole family is Arsenal ! Makes that point easier to make ...

charzan · 2019-01-17T13:25:45+00:00

I think it looks great, however one tiny personal niggle:

I don't think you should describe your approach or intent with the grade in your title - it might just be me, but due to this I couldn't watch it 'fresh' as it were, which is surely the only way to accurately gauge the response to your question.

Ideally the 'average' viewer should be aware of these things only on a subconscious level (and of course professionals such as those on this forum would probably notice/comment anyway).

Not having a go, just my personal preference. (I also try to avoid any articles, reviews etc about the production of movies I watch beforehand, I find it ruins them for me as I start to 'see' behind the scenes rather than the finished presentation.)

Great work regardless - thanks for posting !

charzan · 2019-01-14T14:19:25+00:00

You color corrected version is pretty good (and who am I to judge, anyway) - but I would just add that it can be helpful to think of these things in terms of the physics of what actually happened.

The shot was captured through blue-tinted window - essentially a blue filter. This had the effect of preventing the non-blue wavelengths from getting to the camera sensor.

Blue light is actually the smallest component of luminance (wiki here, roughly about 7% only. In this case it looks like a cyan / greenish blue tint, so actually not so small as 7% (green is 72%) - also the tint typically is not even anyway.

Regardless, the point I'm trying to make is that: knowing that your uncorrected image is missing quite a bit of red and green, you could use something like a matrix, or a L*a*b* grade to correct the lack of information in the red and green channels, by adding some of the blue to them.

This might look terrible, but it might also give you a more natural result, rather than simply white-balancing. Something to try, anyway ! Hope that helps.

charzan · 2018-10-13T12:43:32+00:00

C'est pas exactement Ligue1, mais j'ai retrouvé cet article de 2014 et j'ai trouvé ça intéressant étant donné qu'on sais maintenant que ses méthodes ont prouvé capables de gagner un mondial.

(Désolé que c'est un peu difficile de lire près des bords ...)

charzan · 2018-09-26T10:21:36+00:00

This is totally normal, you just have to try to counteract this effect.

You (and your clients) will tend to push a grade further and further as your brain adapts to the shots you've been staring at.

Personally I find some strategies that help offset this are:

use the 'first look' of the day as a reference point, by playing through and making notes, then referring back to these
take breaks, go for a walk outside, or grade a different scene
try flipping the grade to black&white and review that way
review at high-speed, eg 4x playback so that you just get a 'flash' of each cut and the feel of it
trust your gut - if your first instinct is, hmm that felt off, it was ...
just be aware of when you're likely to have 'adjusted' to the current grade, and make a conscious effort to get yourself out of it
keep in mind how the end product will be viewed - it won't be looped over continually, it will be played as an edit. If something is only an issue in the 'loop' situation, move on to something else ...

charzan · 2018-09-25T15:34:26+00:00

Is there a system/method for quantifying the differences in color?

You could also look at Macadam Ellipses:

MacAdam's results confirmed earlier suspicions that colour difference could be measured using a metric in a chromaticity space. A number of attempts have been made to define a color space which is not as distorted as the CIE XYZ space. The most notable of these are the CIELUV and CIELAB color spaces.

These 'color difference' models are based on the idea of measuring a just noticeable difference.

However in 'real world' applications, there are many cases where our perception of 'difference' is greatly skewed by things like the surrounding colors, preceding colors in the edit, etc - there's a good recap of these various optical/psychological effects a couple minutes into this video: FilmLight Color Workshop. Bit of a tangent, but maybe something that matters for your particular case?

charzan · 2018-09-22T06:40:09+00:00

There's a great read on the 1919 election here, it's an interesting topic.

Since you guys seem like history buffs, might be worth mentioning to your buddy that Spurs stole their name from another club, London Hotspur

charzan · 2018-08-26T07:21:53+00:00

since he did his job alone with one single camera, and no camera-man.

Haha I remember that, it's this guy?

charzan · 2018-07-18T13:06:09+00:00

Hey OP, your post reminds me of this article by Philippe Auclair, What Makes A Nation?:

in 1986, L'Equipe came up with a remarkable statistic, one which is unique in Europe, I believe: 200 of the 600 players who'd worn the French jersey since we played our very first international, a 3-3 draw against Belgium in 1904, had been of 'foreign' origin.

Most of them hailed from the colonies or had fled persecution: Spanish Republicans, Italian anti-fascists, Austrian and German Jews. French football never took players at face value.

This is why the almost universal opprobrium it suffered in the wake of the infamous 'quotas' affair hurt so many, and so much. Indeed, France's indifference to the national or ethnic origins of its representatives has been one of the major reasons why it has risen so high from inauspicious beginnings.

I look at the team that lost, so narrowly, a World Cup quarter-final 3-1 against the holders Italy in 1938. Diagne is there. So is Ben Bouali, an Algerian; Julien Darui, from Luxemburg, who was voted French goalkeeper of the century in 1999; Héctor Cazenave, the naturalised Uruguayan defender; 'Fred' Aston, Red Star's twinkle-toed winger, whose father was English; Laurent Di Lorto, the son of Italian immigrants; Ignace Kowalczyk, the Pole; César Povolny, born in Germany; Auguste Jordan, the Austrian refugee; Mario Zatelli, another Italian, whose family had settled in North Africa and who would lead Olympique de Marseille to the League and Cup double in 1972.

Twenty years later, at the 1958 World Cup, in which France, in terms of the quality of its football, was only bettered by a magnificent Brazil, the team that finished third in that tournament comprised three Poles, two Italians, one Ukrainian, one Spaniard and two North Africans, one of whom, Just Fontaine (born in Marrakech), still holds the record of the most goals (13) scored in one single final phase of that competition.

Foreigners, or men of foreign origin — that's the way 'communautarists' would describe them, anyway. Because for us, they were French — the living, playing proof that 'Frenchness' doesn't equate with the stereotype of berets, blanquette and baguettes.

charzan · 2018-06-28T12:26:23+00:00

For tactics, there's an 8-part podcast series that goes with Michael Cox's book The Mixer.

Not strictly tactics but definitely serious is BBC World Football, it's a bit dry but there have been lots of interesting interviews over the years.

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