Charts are shot for each new roll of film and when the color temperature of the light changes (going from indoor tungsten lighting to outdoor daylight). This tells the lab when they transfer the film to video what 18% neutral gray is so the colors come out accurately.
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Thesis films are over. And as far as film school films go, we've shot our last frame. Hopefully these won't be the last films we make. The realization that this was the end hit me when I was walking to the final location on my set. Perhaps that's why things dragged on...
Unbeknownst to the crew (though I'm sure someone had to notice me balancing a camera on my knee), I grabbed a few shots of the storyboard presentation during director's prep.
As I get ready to DP this Sunday by box building (for lights) and color temperature fretting, I decided to stop by one of the other sets that was filming today. I knew they were shooting in a park near downtown. What I didn't know was this little park had a lost...
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I’ve always wondered if they calibrate the color going from film to digital… I see that the chart in the picture has both CMY and RGB sections. Are those industry-standard samples, so (combined with the grey-value info I guess) they can dial the colors in exactly, or do they just get the brightness correct and digitally grade everything else later?
(Also, is duct-tape-covered pants an efficiency trick? Makes sense to have a bunch of pieces ready to go.)
They actually just use the black, white, and gray area to time to. The colors don’t matter. We’ll color correct the film in post either in Final Cut or through Color.
It’s actually Gaffer Tape on her pants and it does help to have some pre-torn pieces, especially when you’re on camera team so you can quickly give an actor marks.