Author Archives: Rob

About Rob

Adaptive human, 360-367-0460

Color Correction

Hello,

I realized I haven’t made a post in a while, so I figured that I would put forth hard information on the color correction techniques I’m using and why they are important to creating a certain look and feel.

I feel like every film has had some type of post production editing done to the image quality — at least from the 80′s on they must have realized the beautifully startling effect just a little bit of tweaking could have.

The process is very similar to what a photographer would encounter when editing their photos in post, given that you’re literally just trying to improve the image quality in some way from the original. The tools used for editing in both video and photo allow the artist to have complete creative control over the image style.

 

As you can see in comparison, they lightened up the image, corrected the color on both the subject as well as the background and I’m sure they adjusted the contrast/levels to make the image more neutral in density.

 

Having complete creative control over the presented image means that you don’t have to stick with any certain look or feel. The programs I’m using to edit make it really easy to revert my changes and is powerful enough to change literally every aspect that I could want to about the image. Using the last image as an example, the barn door adjacent to the chicken didn’t seem right as a plain white.. the image looks more full – a little more intense and heavy. It gives the picture some weight, and if the emotions are high in the particular scene then I’m sure the two would translate well together on screen.

This is probably my favorite part of the process as I’m always trying to get the best possible image out of my cameras/I always have a certain look in mind when I start a film project. After every shoot, if I have time, I sit down with the footage, color correct most all of it and then decide on which specific shots to use after I have the completed footage.

I’m not sure if it’s the most efficient way to do what I need however having this kind of control intrigues me and, as I said, I enjoy spending my time on this part of the film making process. This activity only reaffirms my aspirations as a cinematographer of some sort, I’m pretty excited with what I could use this on in this future.

 

Color Correction

Hello,

I realized I haven’t made a post in a while, so I figured that I would put forth hard information on the color correction techniques I’m using and why they are important to creating a certain look and feel.

I feel like every film has had some type of post production editing done to the image quality — at least from the 80′s on they must have realized the beautifully startling effect just a little bit of tweaking could have.

The process is very similar to what a photographer would encounter when editing their photos in post, given that you’re literally just trying to improve the image quality in some way from the original. The tools used for editing in both video and photo allow the artist to have complete creative control over the image style.

 

As you can see in comparison, they lightened up the image, corrected the color on both the subject as well as the background and I’m sure they adjusted the contrast/levels to make the image more neutral in density.

 

Having complete creative control over the presented image means that you don’t have to stick with any certain look or feel. The programs I’m using to edit make it really easy to revert my changes and is powerful enough to change literally every aspect that I could want to about the image. Using the last image as an example, the barn door adjacent to the chicken didn’t seem right as a plain white.. the image looks more full – a little more intense and heavy. It gives the picture some weight, and if the emotions are high in the particular scene then I’m sure the two would translate well together on screen.

This is probably my favorite part of the process as I’m always trying to get the best possible image out of my cameras/I always have a certain look in mind when I start a film project. After every shoot, if I have time, I sit down with the footage, color correct most all of it and then decide on which specific shots to use after I have the completed footage.

I’m not sure if it’s the most efficient way to do what I need however having this kind of control intrigues me and, as I said, I enjoy spending my time on this part of the film making process. This activity only reaffirms my aspirations as a cinematographer of some sort, I’m pretty excited with what I could use this on in this future.

 

Color Correction

Hello,

I realized I haven’t made a post in a while, so I figured that I would put forth hard information on the color correction techniques I’m using and why they are important to creating a certain look and feel.

I feel like every film has had some type of post production editing done to the image quality — at least from the 80′s on they must have realized the beautifully startling effect just a little bit of tweaking could have.

The process is very similar to what a photographer would encounter when editing their photos in post, given that you’re literally just trying to improve the image quality in some way from the original. The tools used for editing in both video and photo allow the artist to have complete creative control over the image style.

 

As you can see in comparison, they lightened up the image, corrected the color on both the subject as well as the background and I’m sure they adjusted the contrast/levels to make the image more neutral in density.

 

Having complete creative control over the presented image means that you don’t have to stick with any certain look or feel. The programs I’m using to edit make it really easy to revert my changes and is powerful enough to change literally every aspect that I could want to about the image. Using the last image as an example, the barn door adjacent to the chicken didn’t seem right as a plain white.. the image looks more full – a little more intense and heavy. It gives the picture some weight, and if the emotions are high in the particular scene then I’m sure the two would translate well together on screen.

This is probably my favorite part of the process as I’m always trying to get the best possible image out of my cameras/I always have a certain look in mind when I start a film project. After every shoot, if I have time, I sit down with the footage, color correct most all of it and then decide on which specific shots to use after I have the completed footage.

I’m not sure if it’s the most efficient way to do what I need however having this kind of control intrigues me and, as I said, I enjoy spending my time on this part of the film making process. This activity only reaffirms my aspirations as a cinematographer of some sort, I’m pretty excited with what I could use this on in this future.

 

Color Correction

Hello,

I realized I haven’t made a post in a while, so I figured that I would put forth hard information on the color correction techniques I’m using and why they are important to creating a certain look and feel.

I feel like every film has had some type of post production editing done to the image quality — at least from the 80′s on they must have realized the beautifully startling effect just a little bit of tweaking could have.

The process is very similar to what a photographer would encounter when editing their photos in post, given that you’re literally just trying to improve the image quality in some way from the original. The tools used for editing in both video and photo allow the artist to have complete creative control over the image style.

 

As you can see in comparison, they lightened up the image, corrected the color on both the subject as well as the background and I’m sure they adjusted the contrast/levels to make the image more neutral in density.

 

Having complete creative control over the presented image means that you don’t have to stick with any certain look or feel. The programs I’m using to edit make it really easy to revert my changes and is powerful enough to change literally every aspect that I could want to about the image. Using the last image as an example, the barn door adjacent to the chicken didn’t seem right as a plain white.. the image looks more full – a little more intense and heavy. It gives the picture some weight, and if the emotions are high in the particular scene then I’m sure the two would translate well together on screen.

This is probably my favorite part of the process as I’m always trying to get the best possible image out of my cameras/I always have a certain look in mind when I start a film project. After every shoot, if I have time, I sit down with the footage, color correct most all of it and then decide on which specific shots to use after I have the completed footage.

I’m not sure if it’s the most efficient way to do what I need however having this kind of control intrigues me and, as I said, I enjoy spending my time on this part of the film making process. This activity only reaffirms my aspirations as a cinematographer of some sort, I’m pretty excited with what I could use this on in this future.

 

Baraka Film Recommendation

 

OK, well, I already wrote this post but while adding pictures it somehow deleted all my text. Fun times. So here’s a general recap of what I said.

I should also mention that my site’s header image is a still from Baraka. It is definitely one of the if not the most influential documentary film I think I have watched.

Baraka is a non-narrative documentary film released in 1992. It was directed by Ron Fricke. The film was produced using Panavision’s older 70mm Todd-AO format cameras, one of the first movies to use this equipment in about twenty years. It was shot in 23 different countries including the US, France, Indonesia, Cambodia, Egypt, Brazil, Turkey…. the list goes on. There is no direct dialogue from either the filmmakers nor the people on screen, and the film works mostly with soundscapes versus actual produced music. That’s just a short overview of the film and what it offers.

 

 

There’s not much I can say about Baraka other than you should watch it immediately. Granted, if you need dialogue, action and a distinct plot line to fully enjoy a cinematic experience, this is definitely not a movie for you. This film will provide a visually and sonically pleasing experience for anyone willing to take it as such. There is a narrative exposed by the end of the film, however it is built on the juxtaposition of images. By the end you realize this is a commentary on man’s interactions with the Earth and mother nature, but the journey there is so stunning that it really does make you forget what you’re watching. It’s a surreal experience. This is definitely one of the initial factors that sparked my interest in cinematography — for good reason. The camera work is impeccable. The movements are beautiful and smooth, the timelapses are otherwordly (They actually had to modify the 70mm cameras to create these timelapses). The focal point and composition are always perfect. The aerial shots are epic and the actions depicted on screen carry an emotional weight I have yet to experience again.

 

 

So, this is the second time I’ll end this and hopefully add some cool pictures… but seriously if you have the time, watch this movie. The remastered DVD release has been described as “arguably the highest-quality DVD that’s ever been made” and Roger Ebert once said that the Blu-ray release was “the finest video disc I have ever viewed or ever imagined.” Having seen both, I would full-heartedly agree.

 

 

 

 

One of the official trailers for Baraka.

Baraka Film Recommendation

 

OK, well, I already wrote this post but while adding pictures it somehow deleted all my text. Fun times. So here’s a general recap of what I said.

I should also mention that my site’s header image is a still from Baraka. It is definitely one of the if not the most influential documentary film I think I have watched.

Baraka is a non-narrative documentary film released in 1992. It was directed by Ron Fricke. The film was produced using Panavision’s older 70mm Todd-AO format cameras, one of the first movies to use this equipment in about twenty years. It was shot in 23 different countries including the US, France, Indonesia, Cambodia, Egypt, Brazil, Turkey…. the list goes on. There is no direct dialogue from either the filmmakers nor the people on screen, and the film works mostly with soundscapes versus actual produced music. That’s just a short overview of the film and what it offers.

 

 

There’s not much I can say about Baraka other than you should watch it immediately. Granted, if you need dialogue, action and a distinct plot line to fully enjoy a cinematic experience, this is definitely not a movie for you. This film will provide a visually and sonically pleasing experience for anyone willing to take it as such. There is a narrative exposed by the end of the film, however it is built on the juxtaposition of images. By the end you realize this is a commentary on man’s interactions with the Earth and mother nature, but the journey there is so stunning that it really does make you forget what you’re watching. It’s a surreal experience. This is definitely one of the initial factors that sparked my interest in cinematography — for good reason. The camera work is impeccable. The movements are beautiful and smooth, the timelapses are otherwordly (They actually had to modify the 70mm cameras to create these timelapses). The focal point and composition are always perfect. The aerial shots are epic and the actions depicted on screen carry an emotional weight I have yet to experience again.

 

 

So, this is the second time I’ll end this and hopefully add some cool pictures… but seriously if you have the time, watch this movie. The remastered DVD release has been described as “arguably the highest-quality DVD that’s ever been made” and Roger Ebert once said that the Blu-ray release was “the finest video disc I have ever viewed or ever imagined.” Having seen both, I would full-heartedly agree.

 

 

 

 

One of the official trailers for Baraka.

Baraka Film Recommendation

 

OK, well, I already wrote this post but while adding pictures it somehow deleted all my text. Fun times. So here’s a general recap of what I said.

I should also mention that my site’s header image is a still from Baraka. It is definitely one of the if not the most influential documentary film I think I have watched.

Baraka is a non-narrative documentary film released in 1992. It was directed by Ron Fricke. The film was produced using Panavision’s older 70mm Todd-AO format cameras, one of the first movies to use this equipment in about twenty years. It was shot in 23 different countries including the US, France, Indonesia, Cambodia, Egypt, Brazil, Turkey…. the list goes on. There is no direct dialogue from either the filmmakers nor the people on screen, and the film works mostly with soundscapes versus actual produced music. That’s just a short overview of the film and what it offers.

 

 

There’s not much I can say about Baraka other than you should watch it immediately. Granted, if you need dialogue, action and a distinct plot line to fully enjoy a cinematic experience, this is definitely not a movie for you. This film will provide a visually and sonically pleasing experience for anyone willing to take it as such. There is a narrative exposed by the end of the film, however it is built on the juxtaposition of images. By the end you realize this is a commentary on man’s interactions with the Earth and mother nature, but the journey there is so stunning that it really does make you forget what you’re watching. It’s a surreal experience. This is definitely one of the initial factors that sparked my interest in cinematography — for good reason. The camera work is impeccable. The movements are beautiful and smooth, the timelapses are otherwordly (They actually had to modify the 70mm cameras to create these timelapses). The focal point and composition are always perfect. The aerial shots are epic and the actions depicted on screen carry an emotional weight I have yet to experience again.

 

 

So, this is the second time I’ll end this and hopefully add some cool pictures… but seriously if you have the time, watch this movie. The remastered DVD release has been described as “arguably the highest-quality DVD that’s ever been made” and Roger Ebert once said that the Blu-ray release was “the finest video disc I have ever viewed or ever imagined.” Having seen both, I would full-heartedly agree.

 

 

 

 

One of the official trailers for Baraka.

Baraka Film Recommendation

 

OK, well, I already wrote this post but while adding pictures it somehow deleted all my text. Fun times. So here’s a general recap of what I said.

I should also mention that my site’s header image is a still from Baraka. It is definitely one of the if not the most influential documentary film I think I have watched.

Baraka is a non-narrative documentary film released in 1992. It was directed by Ron Fricke. The film was produced using Panavision’s older 70mm Todd-AO format cameras, one of the first movies to use this equipment in about twenty years. It was shot in 23 different countries including the US, France, Indonesia, Cambodia, Egypt, Brazil, Turkey…. the list goes on. There is no direct dialogue from either the filmmakers nor the people on screen, and the film works mostly with soundscapes versus actual produced music. That’s just a short overview of the film and what it offers.

 

 

There’s not much I can say about Baraka other than you should watch it immediately. Granted, if you need dialogue, action and a distinct plot line to fully enjoy a cinematic experience, this is definitely not a movie for you. This film will provide a visually and sonically pleasing experience for anyone willing to take it as such. There is a narrative exposed by the end of the film, however it is built on the juxtaposition of images. By the end you realize this is a commentary on man’s interactions with the Earth and mother nature, but the journey there is so stunning that it really does make you forget what you’re watching. It’s a surreal experience. This is definitely one of the initial factors that sparked my interest in cinematography — for good reason. The camera work is impeccable. The movements are beautiful and smooth, the timelapses are otherwordly (They actually had to modify the 70mm cameras to create these timelapses). The focal point and composition are always perfect. The aerial shots are epic and the actions depicted on screen carry an emotional weight I have yet to experience again.

 

 

So, this is the second time I’ll end this and hopefully add some cool pictures… but seriously if you have the time, watch this movie. The remastered DVD release has been described as “arguably the highest-quality DVD that’s ever been made” and Roger Ebert once said that the Blu-ray release was “the finest video disc I have ever viewed or ever imagined.” Having seen both, I would full-heartedly agree.

 

 

 

 

One of the official trailers for Baraka.

Baraka Film Recommendation

 

OK, well, I already wrote this post but while adding pictures it somehow deleted all my text. Fun times. So here’s a general recap of what I said.

I should also mention that my site’s header image is a still from Baraka. It is definitely one of the if not the most influential documentary film I think I have watched.

Baraka is a non-narrative documentary film released in 1992. It was directed by Ron Fricke. The film was produced using Panavision’s older 70mm Todd-AO format cameras, one of the first movies to use this equipment in about twenty years. It was shot in 23 different countries including the US, France, Indonesia, Cambodia, Egypt, Brazil, Turkey…. the list goes on. There is no direct dialogue from either the filmmakers nor the people on screen, and the film works mostly with soundscapes versus actual produced music. That’s just a short overview of the film and what it offers.

 

 

There’s not much I can say about Baraka other than you should watch it immediately. Granted, if you need dialogue, action and a distinct plot line to fully enjoy a cinematic experience, this is definitely not a movie for you. This film will provide a visually and sonically pleasing experience for anyone willing to take it as such. There is a narrative exposed by the end of the film, however it is built on the juxtaposition of images. By the end you realize this is a commentary on man’s interactions with the Earth and mother nature, but the journey there is so stunning that it really does make you forget what you’re watching. It’s a surreal experience. This is definitely one of the initial factors that sparked my interest in cinematography — for good reason. The camera work is impeccable. The movements are beautiful and smooth, the timelapses are otherwordly (They actually had to modify the 70mm cameras to create these timelapses). The focal point and composition are always perfect. The aerial shots are epic and the actions depicted on screen carry an emotional weight I have yet to experience again.

 

 

So, this is the second time I’ll end this and hopefully add some cool pictures… but seriously if you have the time, watch this movie. The remastered DVD release has been described as “arguably the highest-quality DVD that’s ever been made” and Roger Ebert once said that the Blu-ray release was “the finest video disc I have ever viewed or ever imagined.” Having seen both, I would full-heartedly agree.

 

 

 

 

One of the official trailers for Baraka.

Baraka Film Recommendation

 

OK, well, I already wrote this post but while adding pictures it somehow deleted all my text. Fun times. So here’s a general recap of what I said.

I should also mention that my site’s header image is a still from Baraka. It is definitely one of the if not the most influential documentary film I think I have watched.

Baraka is a non-narrative documentary film released in 1992. It was directed by Ron Fricke. The film was produced using Panavision’s older 70mm Todd-AO format cameras, one of the first movies to use this equipment in about twenty years. It was shot in 23 different countries including the US, France, Indonesia, Cambodia, Egypt, Brazil, Turkey…. the list goes on. There is no direct dialogue from either the filmmakers nor the people on screen, and the film works mostly with soundscapes versus actual produced music. That’s just a short overview of the film and what it offers.

 

 

There’s not much I can say about Baraka other than you should watch it immediately. Granted, if you need dialogue, action and a distinct plot line to fully enjoy a cinematic experience, this is definitely not a movie for you. This film will provide a visually and sonically pleasing experience for anyone willing to take it as such. There is a narrative exposed by the end of the film, however it is built on the juxtaposition of images. By the end you realize this is a commentary on man’s interactions with the Earth and mother nature, but the journey there is so stunning that it really does make you forget what you’re watching. It’s a surreal experience. This is definitely one of the initial factors that sparked my interest in cinematography — for good reason. The camera work is impeccable. The movements are beautiful and smooth, the timelapses are otherwordly (They actually had to modify the 70mm cameras to create these timelapses). The focal point and composition are always perfect. The aerial shots are epic and the actions depicted on screen carry an emotional weight I have yet to experience again.

 

 

So, this is the second time I’ll end this and hopefully add some cool pictures… but seriously if you have the time, watch this movie. The remastered DVD release has been described as “arguably the highest-quality DVD that’s ever been made” and Roger Ebert once said that the Blu-ray release was “the finest video disc I have ever viewed or ever imagined.” Having seen both, I would full-heartedly agree.

 

 

 

 

One of the official trailers for Baraka.