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Footage Quality: 4/5

Donated Footage – Noisy Tits

 

Shooting the Shit – the What, Where & How

This is a donated still from footage*. I got no information about where it’s from or the context, and it’s been stripped of metadata. I’m going to make a few assumptions here.

What: Intimate scene between a couple or people who are going to become a couple in either a film or TV show. There’s some intense eye contact and intense cleavage in this shot, and the lighting is dim and warm. The Production Design has warm, muted hues.

Where: Bedroom/hotel/motel, either a set or on location. It’s most likely on-location based on the Production Design and how the lighting is set up.

How: I can make a guess that there is a key light off to right of the frame, an overall fill, and a light set up to the left to look like the overhead light in the bedroom. Or, the bulbs have been switched out in the actual light fixtures to something more powerful and the right temperature. This is definitely not a mix of room lights with set lights because there is no colour/temperature mixing or variation in the breadth of the light (eg. a cheap, greenish fluorescent won’t reach as far or be as intense). A light on a nightstand (behind the male actor’s face) is either part of the lighting or made to appear as a source. There may be a small accent light or bounced light hitting the actress’ eyes as well.

 
All I know is that this was shot on a RED Epic, evidently underexposed, and in 4K resolution. This is framed pretty well with good placement of actors; there’s an effort to remove the bed post (I wish it wasn’t there at all) in the foreground by placing something over it that matched the colours in the Production Design. Something like a big, blurry, brown lump in the foreground would absolutely ruin this frame.

 

RAW footage – 4K RED Epic

Now, we can tell this is underexposed…because it’s dark as shit…and the highlights are stuck in the mid values. Sometimes, footage looks strange because it’s shot in a certain camera profile that maximizes the amount of data the censor is in-taking. This is not the case. If I had the RED Raw file, I could use preset Looks like LogFilm to speed up the clean-up process. From my experience, it’s not really necessary because I can get a similar image on my own. However, it does help with roll-off of the blacks/whites. I am using Adobe Speedgrade and don’t have these though.

Note: Noise reduction comes before grading in the colouring process so that the footage is the cleanest possible. It doesn’t really matter in Adobe Speedgrade because of the layering process.
 

Luma

So, the very first step in dealing with underexposed footage/photos is to bring the data into the appropriate range before doing anything with the actual values:
 

Changes to the Overall Grade - I bring the values into the appropriate range to work with.

Changes to the Overall Grade – I bring the data into the appropriate range to work with.

Waveform/Histogram showing how the data has moved from its original position closest to 0.
Waveform/Histogram showing how the data has moved from its original position closest to 0.

 

Primary Grade:

  • Shadows – increased Contrast and mostly brought everything down to reduce the crushing; the data range for the shadows is set lower so it is not affecting mid-tones.
  • Mid-Tones – increased Offset and Gamma, and marginally increased Gain to brighten; added 0.02 Contrast.
  • Highlights - Offset increased significantly, Gamma and Gain increased; the data range for highlights is adjusted to read more mid-tones to pull out highlights. Otherwise, in  the data, this image technically has only mid-tones.
Initial Primary Grade

Initial Primary Grade

Waveform/Histogram (sort of) after Primary Grade

Waveform/Histogram (sort of) after Primary Grade

The reason the blacks are not in their fullest range is because this is a backtrack screenshot – the shadows are manipulated by a vignette I added next, and I had to turn them up again in this grade to keep everything from being crushed. As this is a warm image, the dominant channel is Red. The brightest specs of highlights max out in the Red channel.
 

EPICSample20005

 
A subtle darkening vignette is applied to the edge as a stylistic choice and to alter the composition of the image. As is, the room is unevenly lit in the image. The subject looks too dark despite proper lighting on her face. This is either at fault from the lighting or from a vignette happening inside of the lense. The darkness in the applied vignette balances out the image by redirecting attention to the actress’ face. It also brings down values to happy zero, with the adjustment of a PaletteCut layer.
 

After adding the vignette.

After adding the vignette.

Shitty Noise Reduction

Zooming in, there is colour noise mainly in the blue channel. This type of noise is a problem because it affects the colouring of the image directly – the pixels are literally the wrong colour and add a grain texture. Unfortunately,  Adobe Speedgrade does not have any powerful noise reduction features. I think that’s a big deal for a colour grading program – no one wants to be moving back and forth between software for something this basic. What I ended up doing is creating a Secondary Grade layer that literally targets the blue in the pixels and replaces it with a neutral warm tone. It’s not as corrective as it needs to be, but it at least converts the noise into grain. A heavy fxDegrain layer is used to smooth out the grain texture to something less abrasive without losing sharpness.
 

Before: The visible blue color noise in the shadows.

Before: The visible blue color noise in the shadows.

After: Reduced noise into grain by replacing blue with a neutral hue via a Secondary Grade

After: Reduced noise into grain by replacing blue with a neutral hue via a Secondary Grade

I’d like to use this as an example to rant about why you still need to light your set properly and expose footage properly with our new technology. Yes, RAW allows for footage to be brought up in Post and the dynamic range and sensitivity of today’s cameras can be so amazing it seems you don’t need as much light. There is still losses, like this permanent damage to the footage, that can be avoided with proper exposure and enough light. There is still a limit in all censors where, at a certain point, blacks become noisy when trying to read very low light. It wouldn’t be a big deal if the colour noise was off in the background in a corner somewhere, but it’s RIGHT IN HER FACE. THE FACE! And elsewhere.

 

Colour

Primary Grade

  • Overall: -0.21 in temperature (cold)
  • Shadows: +0.06 in temperature (warm), -0.05 in tint (green)
  • Midtones & Highlights: +0.14-16 in temperature (warm), -0.06 in tint (green)
EPICSample20009

Colour

Removing warmth from the whole image and selectively adding it back in seems to have different (better) results than just manipulating it directly – in case that seems like a strange procedure. As shown in the last shot, the image is overly magenta. The lighting is warm, and of course I want to keep the warm tone, so I make sure the mid-tones and highlights are warm while being white balanced. This is the difference between creating a warm atmosphere and just throwing yellow-orange over the whole image.

 

Secondary Grades

  • Layer targeting some of the excess magenta to get a better skin tone.
  • Layer targeting the red in the flowers on the bed (to the left) to bring back some saturation in the colour.

Finally, I adjusted the overall saturation of the image to be 1.15.
 

Minor Secondaries adjustments

Minor Secondaries adjustments

That’s it. Not necessary: if I were to keep working on this, I might use masks and secondaries to highlight her eyes more, further reduce noise, and – if this is a short or static shot – maybe go as far as removing the bedpost.
 

Before & After

 

*All donations will remain anonymous, unless specifically requested before or after.

 

Footage Quality: 1/5 My Projects

Photo RAW Edit Performance

I wanted to try documenting a colouring process for photos, so I downloaded one of those free programs for recording your desktop that also tries to install crappy toolbars all over your computer. I set the quality to the highest settings – apparently, I have a different standard for “highest quality”, because this is the piece of shit I got. So, because I got into what I was doing, I didn’t take any screenshots. I’m posting this anyway as like a Show & Tell, or performance art? That’s what failed projects go under, right? Put on your best cute little girl voice.
 

This is my photo that I took of an ugly door I found! I like ugly doors! I made it prettier! It expresses my inner turmoil while having a deep socio-geographical narrative.

 
No, really though:
 

Shooting the Shit – the What, Where & How

What: Door on an old brick building. It looks like it is planned to be demolished. Someone wrote “Non!” on the notice taped to the door twice, and the notice itself looks like it’s been there for a while. I took the picture because I’m attracted to these kind run-down places. I had an idea of what I wanted the final photo to look like in mind as I took it – mainly emphasizing the triadic colour harmony.

Where: Near the Jacques-Cartier Bridge in Montreal, QC… one of those neighbourhoods where a lot of old buildings are knocked down and stupid condo shapes are put up in their place – basically newer-looking abandoned buildings.

How: Panasonic Lumix GH3, wide angle lense, late-afternoon, cloudy. The door was in a shadow. Exposed ‘properly’ according to the camera when I took the photo – my note here is that when metering a mostly white subject, the camera tends to read it as if it’s supposed to be gray. (That’s my non-scientific observation.) Usually, I over-expose by a stop to compensate. Not this time.
 

 
That’s about 9 shitty minutes of clicking around and watching the image shape-shift into its final form. Had this recorded properly, maybe you’d be able to see the small details I really fuss over. I’m mainly working with the RAW file, then when I’ve done all I can with the values, colour, and noise reduction, I move into Photoshop. There, I use Selective Colour to manipulate the shadows and specific colours in the image further. I also use Replace Color to saturate colours I want to bring out – mainly the yellows. Last step is a High Pass layer set to Overlay to sharpen the image. I’ve cropped out and removed details in the image to make it more aesthetically pleasing.

 

 

Footage Quality: 4/5

Silent Short – Depressing Scene in a Happy Office

Here is another project I worked on-set and just finished colour correcting. I would rate the footage I received for this film as hovering anywhere between 3-4/5 in quality, depending on what shot I was working with. We had very weak, basic photo lights, which were not ideal for lighting large spaces; some shots are very dark and shadowy or with bad framing. I was an Assistant Camera/Grip on this shoot; I mainly worked on the home-made dolly, slating, and gripping lighting.

I have mercy for critiquing this film because the first-time Director did a great job, the crew was all right, and the end product is very good.  I am extremely impressed the Director was able to get an orchestra to play an originally composed score for this film! For the sake of discussion on this blog and as an indie Director, I’d still like to talk about how an indie Director’s decisions vs. expectations affect the final images in their film.

When I met with the Director to talk about what she expected of the footage, this particular scene was to be coloured to look the most depressing to express the protagonist’s feelings towards his job. It’s to be desaturated, higher contrast, cold, and very blue. Here is a sample of the final colouration I choose for office:

Final Colouration of Office Scene

Final Colouration of Office Scene

Shooting the Shit – the What, Where & How

What: It is a 5 minute silent short film driven by music, exaggerated gestures, and lots of angle changes with a conventional arch plot. The main character moves from a depressing situation to a happier situation by the end of the film. This is one of the most depressive scenes in the film.

Where: Posh, empty rental office in Downtown Montreal with warm, earthy interior design. The layout is a long, sprawling hallway connecting to many office rooms. The specific part of the hallway this shot is in has a protruding wall right beside the camera that is getting in the way of a better frame… On-set available lighting is overhead fluorescent lighting and natural overcast light coming through the windows in the individual offices.

How: The footage is shot on 1 camera – Canon XF300, 24fps, HD, in .MXF format. The shot is still and on sticks at about waist height. Our lighting was a set of 3 photo lights. The DOP set a light down the hall, out of view; a light with an umbrella was set right behind the camera to light the actress. The main actor (male) walks in from left of frame and proceeds down the hall till out of view again. The actress stays at the copier.
 

Step by Step Decision Process

Please take note that these are steps, not final exports. In Speedgrade, I have the capacity to layer grading similarly to Photoshop, which makes it easy to add/remove and alter grades. Here, I broke my Luma correction and colouration into two different Grades overlaid on each other with several Layers in each Grade.

Raw Footage from Canon XF300 in .MXF Format

Raw Footage from Canon XF300 in .MXF Format

There is no in-camera preset applied to this footage, so the profile is very flat. The footage is shot at 50/MBps – it has plenty of information. I’ve never worked with this camera before in colour correction, but it is interesting to see how the colours are fairly accurate and the luma range is screen-ready. You could throw this onto a HD TV and it’d look pretty good as is, and I think this camera was designed with that in mind.
 

Luma

Initial Luma Correction

Initial Luma Correction

Primary Grade

  • Shadows: Added contrast; darkened and “stretched” through adding Gain. This makes the shadows look true to the footage, but richer.
  • Mid-tones: Lowered Gamma – image overall looked too bright in the mid-tones.
  • Highlights: Lowered Gamma again for same reason. Decreased contrast and added Gain – this puts them at the proper value range while softening them.

In the .MXF codec, the sensor data doesn’t seem to be directly altered, but “moved around”. If I were to follow my Histogram exactly, the data tells me my values are dipping far below 0% – but everything looks correct and the way I want it. Normally, they would be crushed in another codec, but this codec retains the data. One day, I imagine this extra data might be actually view-able on a screen. Today, I am applying an fxPaletteCut in Speedgrade. This does not make the footage look any different, but it alters the data to fall in a safe zone.

Vignette

Vignette

Aesthetic choice. The Vignette adds more contrast to the image and moodiness to the scene. It is made with a Primary layer, which is set to darken the overall image and boost the highlights through gain so they match. Notice the vignette is not like someone burned the edges of the image with a lighter. It imitate natural shadows that might fall on the ceiling and walls. The effect falls outside of the mask in the fade zone; here is a reference of the mask position:
 

Vignette Mask

Vignette Mask

 

Colour Scheme

It’s easy to think that because the Director asks for a “cold, blue scene”, it means you can add a bunch of blue everywhere and be done. Of course, I tried this and ended up with a sun-bleached image that felt wrong and had painfully blue whites. There was no balance.

The location was picked because it was available and low-cost; however, say money was available and the Director had more choices besides this warm, nice office? It would have been ideal to have a less pleasant office – drab, grey carpet, white walls, grey/brown/slat blue trim, something like a health-conscious poster about heart disease on the wall instead of nice print, blinds in the cubicle doorways, and white bulbs to give it that industrial feel. That would feel more like a shitty place to work – and that is the intended motive in the Production Design of this scene. The look of this particular office conflicts with the motive – why should he be depressed about his job in a place like this? Even a lowly data entry position in a place like this wouldn’t be so bad. In a film with no dialogue, it counts.

There is no one way to do something and this can work though. I decided what I would do is balance but desaturate all the colours, and single out the blues. It gives it a more dull feel, and accenting the blues adds the desired coldness.
 

006

Primary Grade for Colour Scheme

Primary Grade

  • Overall grading – set saturation to 65%, 
  • Shadows & Mid-tones – Added an equal amount of blue and magenta spices.
  • Highlights – Added a significant amount of blue in Temperature (set to -8), and a dash of green tint.

 

Skin Tone Mask

Skin Tone Mask

Secondary Grade

  • Singles out the orange hue
  • Adds back the orange in Temperature and green tint I removed in my Primary layer till the skin tone checks out on the Vectorscope.
  • Layer is moved to be underneath Primary layer, so it does not muck up with subsequent layers in between.

The mask is placed off-center where the majority of the action happens. Since the action is not drastic in the frame and there is no camera movement, a large mask can be used to cover all bases. The wide fade edge keeps the mask from being too apparent.

 

Secondary Grades - Blue, Colorized Shadows

Secondary Grades – Blue, Colorized Shadows

As final adjustments, two Secondary layers are added with subtle correct for aesthetic choices. The first is a Grade targeting the blue hues, which adds saturation. The second: a Grade that targets the darkest shadows, which are mainly in the yellow hue. The darkest shadows were too warm and didn’t balance out; it brings down saturation to 91% and adds blue and magenta to create a more grayer, cold shadow.
 

00003-BA

My Projects

Artist Doc. – Crazy Windows

The artwork in these stills has been blurred out for (distracting) content and because I don’t have permission to post it for my own purposes. It is irrelevant to the content of this post. Hopefully, the crystallization isn’t just as distracting, but it should give you the gist of how the grading affects the artwork.
 

Shooting the Shit – the What, Where & How

What: Personal no-budget documentary project on an artist. This documentary has minimal planning, and it’s mainly improvised…we winged it, followed the dude around through tangents over the span of a few hours with continuous footage. In this shot, the subject walks across the room and places artwork on a table; the end frame lands on the artwork. It is key to balance the setting of this shot with the end frame so both look ‘good’.

Where: This moves shot through a dimly lit attic-type area. There is some warm lighting from tungsten bulbs, but it is mainly lit by the largely visible windows. The weather outside is overcast.

How: The footage is shot on 2 cameras – one is shoulder rig, and the other on sticks. Canon 60Ds, 1080, 30fps (29.97), Technicolor Cinestyle Preset. The shoulder rig camera had an LED light pack mounted  above the camera, which I’m certain was set to daylight temperature. The shoulder rig camera had white balance set on auto, so we wouldn’t have to stop. There was no other setup lighting.

 
For a moving shot like this one, the tools available in Speedgrade are invaluable for an indie film maker. Say this is the only program you had access to (or something similar) – you will still be able to create a flattering grade. You won’t be trapped with one half of the shot screaming in pain from too much harsh light, or end on a frame that is resembles the bottom of a septic tank. Speedgrade allows you to use layers of Primary and Secondary grades along with masks and keyframing. I am able to keyframe changes in the grade as the subject walks past the windows. This is somewhat unusual for the kind of loose documentary style we used, but I feel like it’s a 2013 solution. We’re not in the 90s and 00s anymore, and our footage doesn’t have to look like bird shit mid-shot.
 
Let’s dive right into the main issue in this shot – the Crazzzy Windows.

Raw footage from Canon 60D

Raw footage from Canon 60D

It’s not evident at this point how the highlights will react when the luma is adjusted. As you can see, this fairly high contrast lighting: the right side is very dark and the left side teeters around the highest values because it is the direct light source. Because we used a flat profile preset, we are able to capture the subtlest of the darkest/lightest values.

 

Still of the Technicolor Cinestyle LUT applied and with an ‘umbrella’ grade that I used for the entire ‘scene’ or location based on the lighting and material.

Still of the Technicolor Cinestyle LUT applied and with an ‘umbrella’ grade that I used for the entire ‘scene’ or location based on the lighting and material.

The luma adjustment looks pretty good – it has good contrast, there is a decent dynamic range. Obviously, the windows and anything nearby is blowing out. It’s also noticeable that the blues are pretty dead.

 

Jan-04-2013 319817

A Secondary grade which brings the blues back to life has been activated.

I added a Secondary grade to the Umbrella grade that I activated to show you the difference. The Secondary brings up the blues in value, saturation, and hue. There is some noise in the background from this, but since I am not using the best of the best software and the footage is from a compressed format, this is what I have to settle with. The software’s denoise only did so much, and otherwise, my grade would have no effect. At this point, there is a limit to how many masks you can use and the software has issues with tracking them. If I could, I would mask out the exact areas I want the blue to effect.

 

Jan-04-2013 419817

Primary grade – pay attention to the difference in the highlights!

Primary Grade

Since this image is pretty well exposed and has a good dynamic range that is achieved in the umbrella Primary grading, there is very little tweaking I have to do in general. Mainly, what I did was bring up the mid-tones. The highlights are where the difference lies. The flat profile preset lets me bring back information into the highlights because we have the captured data to do so.
 

The Highlights

  • The offset and gain is slightly brought down
  • The gamma is brought down by at least 40%.
  • Increased the yellow hues in the gamma
  • Warmed up the temperature
  • Increased saturation
Jan-04-2013 519817

Visual of my poorly described settings. Adobe Speedgrade

  You’ll notice the image feels ‘less bright’ now that I’ve done this, because the huge pure white rectangles are gone. However, this is the appropriate range for the highlights in this image; in some parts, like the pillow there, the highlights are still hitting 90-100% of the waveform. The white walls will not because they’re not lit by anything inside the room. The light coming in the windows can’t just do a u-turn and light up the walls! Had I made them brighter, the lighting would begin to look artificial and like bad HDR.
 
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My Projects

Artist Doc. – Close up, Sunburnt

 

Shooting The Shit – the What, Where & How

What: Personal no-budget documentary project on an artist. This documentary has minimal planning, and it’s mainly improvised…we winged it, followed the dude around through tangents over the span of a few hours with continuous footage.

Where: This shot is happening within a garage area with crappy florescent lighting, over-cast natural light coming in through windows, and fugly flash lighting from a mounted LED light pack.

How: The footage is shot on 2 cameras – one is shoulder rig, and the other on sticks. Canon 60Ds, 1080, 30fps (29.97), Technicolor Cinestyle Preset. The shoulder rig camera had an LED light pack mounted  above the camera, which I’m certain was set to daylight temperature. The shoulder rig camera had white balance set on auto, so we wouldn’t have to stop. There was no other setup lighting.

I’m one of the nOOb camera operators. It’s definitely the second time I’ve ever camera operated in my life without someone intervening and setting up anything for me. I don’t have this equipment to play around with, and I regret not signing it out more often in school just to dick around. What I really should have done is set the colour temperature of the LED light to match the indoor lighting more closely. Stay tuned for the consequences of this flub.

 

Dec28-2012 1

Raw footage from camera

Still of the Technicolor Cinestyle LUT applied and with an ‘umbrella’ grade that I used for the entire ‘scene’ or location based on the lighting and material.

Still of the Technicolor Cinestyle LUT applied and with an ‘umbrella’ grade that I used for the entire ‘scene’ or location based on the lighting and material.

There’s the I Used a Flash blue glare in the highlights from the LEDs that were right in his grill. The colour temperature mixing between the green flourescent lighting and the daylight balance lighting is bringing out all the magenta in his face, making him freshly sunburnt. It might not seem like much, and you could shrug it off, “He’s just a little red in the face..,” but why stop here? Don’t be a lazy fuck. It’s in the details.

 

Primary grade

Primary grade

Primary Grade

  • Offset to brighten overall
  • Luma correction for shadows, midtones, and highlights to meet the fullest value range
  • Added warm tones to midtones and highlights, and cold tones to shadows as well as took out some green.
  • Increased contrast overall, and on midtones and shadows.
  • Lightest values are around 80, darkest values are floating around 5.

He’s really burning up. After the primary grade, the magenta polluting the image really comes out. The image is currently predominately red while being more vivid and covering its fullest value range.

 

Secondary Grades

Secondary grade 1 - the reds and magentas

Secondary grade 1 - Targets the red and magenta hues, adjusting them to be closer to a skin tone

Dec28-2012 5

Secondary Grade 2 & 3 – target the yellows to bring them down, targets blues to bring them up in saturation and intensity

The blue grade brings up the blues, which are muted, adding some complimentary colour harmony into the image and making it more pleasant and dynamic. It also just makes the painting behind him look more like what it does in real life. Toning down the yellows makes him less sickly, which is noticeable against the purple shadows. Unfortunately, there is still some unwanted magenta tones in his hair, and my attempts to remove them mess with the skin tone and other parts of the image. It’s better than green eyebrows. This is not a final grade, so I might find the sweet spot and be able to get truer shadows.
 

Jan 18 – Revised

So I took some time off this shot to work on the rest of the grading needed in this project because I’m in a rush. I’m not sure what made me decide, “Yes this is great like this, looks like a human!” I’ll partially blame it on the phenomenon that happens after staring at the same few images for hours in the late night to the point where the colours ‘burn’ into your eyes and memory and just become neutral and awesome. Fuck, that looks bad. What the hell.

 

Tweaked Secondary Grades

Tweaked Secondary Grades

What I did here is tweaked the previously mentioned Secondaries as they are kind of off. The grade responsible for taming the magenta monstrosity wasn’t quite reaching far enough, so I had to tweak its threshold to get the hues hiding in the hair and shadows of his face. This was mainly in the saturation. All other Secondaries were adjusted, but almost instantly, this became better and fell more on the skin tone line in the Vectroscope. I also tweaked the highlights to hit closer to 92% in the Primary grade and pulled out some shadows by uping the contrast, and actually darkening the image.

I will probably revisit this shot once more when I go over everything in the project once or twice with fresh eyes and mind.
 

Technicolor Cinestyle Preset

The majority of the time, I come across whole indie films on the internet that are just the raw footage. If the filmmaker has a camera operator who decides to use the Technicolor Cinestyle preset (or similar presets), the film ends up looking really desaturated and dark if they stick to raw footage. If the person colour correcting the footage doesn’t know what this preset does or what they’re doing, you often get something muddy or excessively contrasty with desaturated colours. This preset is meant to be used along with its accompanying LUT. Currently, I don’t understand LUTs very well. I tried doing research, but I got bitch-slapped by too much SCIENCE! Just from observation, the LUT applies an appropriate curve to regain the initial contrast and saturation.

There’s all sorts of arguments for using this preset. Essentially, this preset is used to get the most data into all the values as captured by the sensor into the compressed format used in DSLRs. In my case, the Canon 60D does not shoot in RAW format, and when encoding the sensor data, it is applying a curve that generally crushes the blacks and whites. This loses useful data for post-production. The Technicolor Cinestyle preset is a flat profile. Just because I am using it here does not make it the best; there are many presets out there, and each one should be picked based on preference and purpose.

 
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