Terminator Salvation Pc Game Highly Compressed Download
Mike Fowler
My first experience with the 5D DI color correction was for the Terminator webisodes produced by the Bandito Brothers through Wonderland Sound and Vision. McG asked me to be the Director/Cameraman for these alternative marketing shorts that were going on the internet. They would release one a week leading up to the opening date of Terminator: Salvation.
When we began the color correction process, we quickly realized a new grading process was necessary. The old rules no longer applied. We started with a LUT (lookup table) that gives you the look and feel of Kodak Vision print stock in the digital world and the Codec just fell apart. Andrew Huebscher, the colorist at Bandito was earning and learning as we dealt with this very compressed Codec for the first time. The old rules of color-correcting film. When Andrew would turn the knobs to make a change, the color would shift radically. We soon understood that with this fragile color space you had to move the knobs very delicately. We learned not to use the Vision LUT when color correcting digital footage.
For example, say you were in an interior and then moved outside and forgot to change the color temperature and shot footage. Then, all your exteriors would be blue. It would be very difficult to just fix it in post. You can do it but it never matches well. It just feels wrong.
You can always create contrast by stretching the image by pushing the whites and pulling your blacks down. Underexposure is a powerful tool with this camera, but the whole image cannot be underexposed. It will result in noise, fall apart quickly in color correction and just look muddy.
I then moved my mouse down to the lower left corner where there is an icon that has two squares in it. You click on that and two identical photographs show up on the screen. I then move over to the right side where you find a curve graph.
I start at the bottom of the curve and start to bend it to open the shadows. Then, I move up to the middle and open up the mid-tones, and then finish at the top swinging the highlights so that I can suppress them to hold more detail.
Then I went a step further. Balancing camera color is one of the most important things that you can do. Each camera comes from the factory supposedly balanced but all of them have a bias. Set up a white card with the correct color temp on the camera, which depends on the color temp of your light. If you are shooting with a Tungsten source then you would be at 3200K. If it is daylight you would be at 5200K, and so on. Or you can auto-white balance, your choice. Some cameras come with a yellow bias, a magenta bias, or a green bias. Sometimes you get one that is perfect from the factory but from my experience that is not the case.
Go up to the little advance button, which is above the big wheel and it also moves your focus box. Push it one way or the other to swing your camera to produce pure white. If your camera is coming up magenta, then you would give it a few points to the green.
Now if the color is somewhere in the middle of what those controls can do, you can get even more specific with different shades of green, blue, etc. By going diagonally, you get a shade of red, green, and blue.
Taking two identically calibrated monitors, I put my default camera on one and then the new camera on the other monitor and adjust to eye. Once I get them very close, I put an HDMI switcher in line and go back and forth from my default camera to the new camera on the same monitor until it is exact. I just repeat this process until all my cameras are balanced to the default camera.
It is so helpful because when you are out shooting with multiple cameras and multiple operators you need to know as a cinematographer that they are choosing the right exposures and color temperatures based on one common denominator, that every camera looks the same.
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Thanks Shane,
You are the first I have seen mention this disagreeable color shift towards the Magenta. I was beginning to wonder if it was me. I did not however know about this graph style correction tool. Invaluable. Thank you very much
Andrew McMillian, I will think about it. It is something that has taken me some time to perfect. In the mean time experiment. That is what I did. I made so many mistakes with trying to extend the latitude, but what a great learning experience it was and seeing how far you can push it.
Darren, first of I am glad you enjoyed the podcast and secondly thank you for your kind words and comments. The man cam set-up that I use is a Hurlbut Visuals version of the Capt. Stubling. I offset my handles and have manufactured my own HV baseplate.
This is brilliant timing. I was struggling with just this issue the other week with my 7d being more yellow than my 5D2. Now I can get them set up to match perfectly.
If you can only help us on how to sharpen up the 7D a little to match the 5D2 better, that would be perfect.
Wayne Avanson, I am glad that I could help you with this process, on the sharpening front I would do all that in the post process and not with the camera. The 7D will be slightly softer than the 5D because of the megapixel count and the size of the pixels. The 7D has a totally different contrast ratio because of that also.
Charles Papert, why is it a tough day? Once you suck the magenta out they look grey because of all that over-saturating. I would try AdobeRGB color space, it will mute the colors slightly, especially pink. Bernie Mac would have loved that camera. Your D-Tap power cable went with the monitor. Probably after my baseplate went to your fabricator.
rod Hardinge, this is how I try to set myself apart from all the other HDSLR noise out there. You get intimate, personal blogs that I share with all of you from work experience in the field. You get me answering every comment personally. It is from my heart, I want to educate and inspire.
Aaron Goatley, You are so welcome and thank you for your continued support and trail blazing spirit. We can change the way cinema is done. I know out of this disruptive technology will be a wave, like Film Noir or French New Wave. We need to come up with a name for this style of filmmaking.
Shane,
I finally found the reference I referred to, and embarrassingly for me it had nothing to do with CC filters, but mired values.
Each unit of Shift on the Blue -Amber axis represents 5 mireds of colour temp correction.
Jeff Steinmetz, we are not getting RAW 4:4:4 out of the camera, it is what we are calling RAW 4:4:4 cineform files. These are like putting it through ProRes which uncompresses the highly compressed h.264.mov file. You can ProRes at 4:4:4 into a Mac or cineform which a PC based decompressor at 4:4:4 also.
Jeff Steinmetz, if you sign up on my website to the Inside Track, you get a newsletter each month that gives you more insider trading info. There are archived newsletters that have the Native ISO charts and the noise. Check it out.
hi,
i have read on your newsletters that you suggest to use color meter like the old minolta color meter.
As you know this is expecially for film camera.digital camera sensor have different approch to RGB.
do you have suggestion how to use and interpret minolta color meter with this camera?
or do you have other approach to control and setting in the best way the color temperature?
thanks
ivan, does not matter at all. It is still gauging what the color temp of the light, whether it be daylight or tungsten. RGB aside. I have gone with the shortcut recently with the WB button on the top of the camera and scrolling the wheel to get my desired look.
I have been looking through similar blog posts in this topic. Not many of them are good with writing skill and quality, but yours is an exception. I would like to read more of your writings on this subject.
1. Is it better to shoot in monochrome in camera than to delete the color information later? This seems closer to your assessment that this makes your raw content closer to the working space you want in the end anyway.
Rod Blackhurst, Yes that is what I advised them to do. I did test and found that we had more range in the monochrome setting, mainly in the noise department. So what I do is put it on Monochrome and then adjust my contrast accordingly. Always send your sharpness to -0 and dial your contrast to the range that feels good to you.
Unfortunately one of the side effects is that the red colours shift to orange. Therefore with color tone +2 I used the Picture Style editor to select red colour and dial a Hue adjustment of -10 (and when using color tone +4 I adjust Hue -20, suitable for asian skin tones).
ivan marasco, yes, they are not happening. I have found that you really need to keep with the general camera settings. I feel that I get some decent latitude out of my cocktail that I have created. When you try to bend the curves in the highlights to suppress them the image gets mushy and it is hard to judge your exposure. You can try shooting with this but you would need to constantly judge your exposure with another picture style that is what you want the final project to look like and then switch back to the flat look and hit record.
Using Color Tone +4 with the Faithful Picture style corrects the magenta tone for me. Faces look more natural, grass is greener and browns are browner. I have a version 2 of my picture style which uses a better red color base for correcting red tones. This version is more likely to render red cars properly red. Open a RAW image in DPP and in the RAW tab click Browse to load the picture style.
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