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MillimeterAt the Cinematographer's Picnic
Jun 1, 2005 12:00 PM, By Cynthia Wisehart
My almost-three-year-old laughed out loud as we passed the J.L. Fisher booth and the huge jib arm with the happy face swung down and brushed her on the nose; she recognized the Steadicam-equipped Segway from a birthday party, and she unfortunately coated the Plus 8 demo room with grape snowcone. Though she sat patiently through the software demos, she was ready to go when Eric Burdon and the Animals took the outdoor stage. “Too loud. Let's go home.”
It was a fine day at Cinegear under mild, sunny skies at the Warner Ranch. We heard complaints about the parking on Friday, but Saturday seemed to go without a hitch if you don't count the snowcone.
As we passed the Gamma & Density booth, Robert Elswit was talking about the difficulties of digital dailies, especially when shooting overseas (as he recently did for Stephen Gaghan). Specifically, he was citing the remote communications challenges between DP and colorist. This is the problem that Gamma & Density's 3cP system purports to solve. The rented system (available direct or through Plus 8) allows the DP to establish a look on set that is captured as still images (via a Nikon D70 digital camera) and as data through waveform monitor and vectorscope, as well as electronic printer lights. The looks can be adjusted either intuitively through paint tools on the still images or by manipulating data that is represented both as equations and on the waveform and scope. So the tools allow the cinematographer to check assumptions, duplicate light, and carry a look from one scene to another. Metadata as well as other data management features help ensure that as images and footage accumulate, so does a history that is easy to follow.
Understandably, Elswit asked logistical questions about the kind of data that went into the 3cP reports, and how they were viewed at the colorist end (the on-set Apple monitor is calibrated to the telecine monitor). But he also wanted to understand how the system handles a DP's individual rating preferences, especially those that differ from the manufacturer's standard ratings. (The Nikon shoots at the manufacturer ASA; the DP's rating is accounted for in the 3cP systems' calibration).
As the demo concluded, Elswit declined to see a demo of the new motion version (for digital cinematography). “Not until I'm forced to,” he said good-naturedly. For those who are shooting, say with a Viper, the system provides a way to view Viper footage without the native green, but goes way beyond to give the DP and director new latitude for on-set experimentation — and new ways for the holy trinity (DP/director/colorist) to navigate and negotiate. Worth a look, also at Plus 8.
Continue the discussion on “Crosstalk” the Millimeter Forum.