CAMERIMAGE AFC - PANASONIC WORKSHOP...

CAMERIMAGE

AFC - PANASONIC WORKSHOP PRESENTATION

Plus add-ons & explanations given after MICRO SALON 2017 presentation.

Philippe ROS

Cinematographer AFC

Co-chairman of the CCTC of Imago (Technical Committee)

Honorary member of the Canadian Society of Cinematographer

Member of the French CST (Technical Superior Commission)

Special thanks to:

The TEAM (see page 76)

Nela PERTL Marketing Manager - PANASONIC Europe

Luc BARA Technical Product Manager - PANASONIC Europe

Olivier CARTIER Product manager - VISUAL IMPACT

Denis GRANAI Marketing director - CINEMAGE

Jerome VALIDIRE Colorist – CINEMAGE

THE PARTNERS (see page 63 - 64)

Research

Black & White Imaging

As soon as the cinematographers started to use

panchromatic films instead of orthochromatic ones,

we saw the difference of reproduction of grey

values of skintones.

Make-up artists used white cosmetic liners, purple

and pink colors for the lips and eyelids.

(Right: Theda Bera portrait).

Reminder on Black and White in film

Values of grey of each colors have

always been manipulated through

temperature or duration of process or,

for example, glass filtering.

Right: Example of red filter (Cokin)

adding drama in the sky.

Reminder on Black and White in film

‘’Cat People’’ Director: Jacques Tourneur - Cinematographer: Nicholas Musuraca

Black & White film stocks

Kodak

Ilford

Gevaert

Dupont de Neumours

Research

Black & White digital stocks

Infra-red

Digital cameras - Digital workflows

Several paths - Different results

A standard digital camera has in front of the sensor:

• A Bayer pattern

• An Infra-Red (IR) cut filter

B&W with digital cameras

Several paths - Different Results

OPTION 1 - Shooting with a B&W digital camera without Bayer pattern

OPTION 2 - Shooting color, creating B&W in post during grading

OPTION 3 - Shooting color without infra-red cut filter, creating B&W in post during grading



OPTION 1 - Shooting with a B&W digital camera (without Bayer color pattern)

• Without IR cut filter



OPTION 2 - Shooting color

• Creating B&W in post during grading



OPTION 3 - Shooting color without infra-red cut filter





OPTION 3 - Shooting color without infra-red cut filter was choosen




OPTION 3 - Shooting color without infra-red cut filter


Panasonic option

Varicam LT

Owns a detachable IR cut filter

Replaced by a neutral filter for conserving the same flange depth


Escapade

Directed by Ben Elia

THE FILM ON VIMEO

https://vimeo.com/182057250

https://vimeo.com/182057250

Escapade - Tech specs

DELIVERIES

24ps

4K DCP

RECORDING FORMAT:

AVC-Intra 4K 10-bit 4:2:2

V-Log

Escapade

DUAL NATIVE ISO

Use of

• 800 @ 800 ISO

• 1250 & 2500 @ 5000 ISO

WHITE BALANCE

Extensive use of

• Selection between 2400°K and 2800

• Choice of subtle gradations on

Magenta & Green

Escapade - Tech specs

ASPECT RATIO

1:1,85

LENSES spherical

• Canon prime T1,4

• Cooke prime T2

• Zeiss Ultra Wide zoom

Tests

Shooting by day

Shooting by night with:

• A young actress

• The Eiffel Tower

Mottos:

• Importance of controling colors for the grading

• Having the smallest crew to get more time to shoot

Constraints:

• European Football Championship 2016

• Heavy security checks in Paris restricting road traffic around

the Eiffel Tower

Advantages

The Eiffel Tower was lit up in the

colours of the most-supported

team on social media every day.

Team

• Actress

• Director

• Cinematographer

• Camera operator

• Focus puller

• 2nd assistant camera

• Gaffer

• Props

Electric List

• HMI 200W Joker K5600

Electric List

LED´s:

Flexlite Aladin

BifFlex 30x30 Aladin

Varsa Nila

Methodology

• Giving the colorist the maximum of room to handle the hues of

colors

USE OF WHITE BALANCE

VARICAM LT

VARICAM LT

SELECTION OF WHITE BALANCE

TO GET THE BEST SEPARATION OF HUES

Analogy with a hand from which we separate and extend the fingers.

Goal: Preparing the separation/selection of colors

During grading the colorist pull the phases of color which present an interest.

It’s not painfull.

Increasing the saturation of a phase of color

The lack of bit allocation is largely compensate by the 32-bit floating point

capabilities and the GPU of the grading suite.

Not to be done on the grading software of your laptop!

Information in the trees due to:

• Shooting 1250 @ 5000 ISO Native

• Shooting w/o IR cut filter

• Selection of WB @ 2400°K

Colorist

Jerome Validire

CHROMINANCE SELECTION

Research

UNDER THE PONT ALEXANDER III

Final grading

Recorded image V-Log w/o IR cut filter

Passage to B&W

First grading

Pass on Eiffel tower: selection of hue

Pass on little girl: selection of hue on stars of the dressing gown

Check in color

Final grading


Research

UNDER THE PONT ALEXANDER III

Final grading

Check in color

Pass on little girl: selection of hue on stars of the dressing gown

Before After

Before the hue selection

After the hue selection - Final grading


Research

THE STAIRS OF BERTON STREET

Final grading

Recorded image V-Log w/o IR cut filter

Passage to B&W

First grading in color - Selection of hue on stars of the dressing gown

Final grading

In this B&W research, I first started with François Paturel, cinematographer & DIT, Laurent

Desbrueres, senior colorist and then Jerome Validire, colorist at CINEMAGE post facility. The idea

was to find back the subtleties created by the shifts of values of grey.

For many years, whether in the camera menus with Christian Mourier (former engineer at Sony),

and with François Paturel, Olivier Garcia (DIT at HDSystems) and with Laurent Desbrueres in post,

I always aimed to modify the look of the image through the creation of ’’digital stocks’’.

Gamma curves played an important role, but what is less well known is the research on selection

and modification of colors.

In the work carried out on ‘’Escapade’’, there are a lot of similarities with what we’ve done in the

past, directly on the first digital cameras to modify color & B&W. A first approach in the camera

menues followed by an image processing in the grading suite.

A strong bias during shooting, without being able to step back, far away from the ‘’raw comfort’’.

Black & White in digital

Black & White in digital

Black and White is not so often used in the feature films.

In digital the correspondence between the colors and their values of grey falls under the

same rules than in film.

The first digital cameras (4:2:2), in addition of an automatic desaturation, gave users the

opportunity to turn in Black & White through Matrix parameters (Matrix controls were

originally designed to turn from RGB to YCbCr). Instead of desaturing colors, we could

create a B&W image with different values of grey.

A fastidious work but with interesting results far from the usual B&W.

(see next page)

We can see this specific application: ‘B&W and Colour’’ with a customized Matrix control in B&W with

a single retained phase of color - during shooting - in this short demo film: ‘’Gare du Nord’’.

http://www.philipperos.com/content.php?id=11&page=1

Old HD movie with obsolete

cameras, but with strong bias

during shooting.

Strong bias on which, Laurent

Desbrueres, senior colorist,

just crushed the black level

and reajusted the color.

http://www.philipperos.com/content.php?id=11&page=1

Point of view on camera and on grading session

Even with this recording format: AVC-Intra 4K 10-bit 4:2:2, we had important

possibilities during grading.

This test made with little amount of light shows that with more lamps or when

shooting daylight, the camera - without IR cut filter & with color temperature

adjustments - combined with grading, can give huge artistic possibilities.

The panasonic V-Log has proven to be highly successful for these precise

selections of color to turn finaly in B&W

Imago

European Federation of Cinematographers

Committee for Creative Technologies in Cinematography

Filmmakers

Cinematographers

Colorists

What do we need?

What do we want from manufacturers?

Maximum of control on workflow

Friendly, simple menus

Maximum of open parameters on camera

THE TEAM AND THE SPONSORS OF ESCAPADE

Special thanks to all of you!

STARRING

APPOLONIA ELIA AND BEN ELIA

PRODUCERS

BEN ELIA AND PHILIPPE ROS

WRITTER & DIRECTOR BEN ELIA CINEMATOGRAPHER PHILIPPE ROS AFC

EDITOR CLAIRE BALBUSQUIER

COMPOSER, SOUND DESIGNER & SOUND MIXER CHRISTIAN FABRE-DIT-GARRUS

PRODUCT MANAGER VISUAL IMPACT OLIVIER CARTIER

COLORIST FINAL GRADING CINEMAGE JEROME VALIDIRE

SENIOR COLORIST FREE LANCE - RESEARCH & TESTS LAURENT DESBRUERES

CAMERA OPERATOR JOHAN JOLIVET

FOCUS PULLER TONINO DE MARCO

SECOND ASSISTANT CAMERAMAN JORDAN BAUDIQUEY

SECOND ASSISTANT CAMERAMAN/TESTS SIMON FERAY

GAFFER CAMILLE BENOIT GAUDIN

SFX & PROP SPECIALIST OLIVIER ZENENSKI

PROP ASSISTANTS FLORA ZENENSKI AND JONATHAN ZENENSKI

SPECIAL THANKS MICHEL BENJAMIN, FRANÇOIS PATUREL, ANNIE LIGEN AND LUCIEN & MADY ELIA

THANK YOU!

Philippe Ros - Cinematographer AFC

www.philipperos.com

2016
http://WWW.philipperos.com

Date post:	17-Oct-2020
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