Cinematography Post Production


This task includes my work flow of post production work I have been doing through my cinematography module. It will included detailed information about the files and programs I have been using and include any problems and techniques I have found


I have been shooting with a Black Magic camera which records 12bit Raw DNG files. This means it has a demand for large amounts of memory space. The footage is converted down to an 8bit uncompress folder in Devinci and edited in Premier pro before colour correcting. Once it’s done the files are linked back to their original 12bit Raw footage and exported as either a h2.64 files or imported back to premier in order to relink the sound.



Colour correcting inside Devinci

Once the footage is inported Devinci can colour grade the images and set the 8bit files back to their original 16bit raw meaning the colours will return to their original look and make it possible to corect colour with pre sets. This is done by Having taken in mind my original exposure I accounted for any extra exposure that was not wanted. Having the Black Magic recording a large 13 stop range shots are purposely pushed to the right, this is because the camera is able to handle over exposure limit and revive detail. Once the shots are corrected the contrast is taken and set to a point on a graph which gives you option to retrive the detail back in over exposed areas.
Skin tones are purposely are set in accordance to an Ansel Adams chart whci both Devinci and camera systems recognise and work inside. A ‘mid level’ skin tone is measured as a unit of 5;- which any light metre will read and give indication to what setting an apperture should be to achieve such a level of skin tone, if they so wish.

I had a day where I was practicing methods of lighting up mid ground without light spill into the fore ground or background and I found that the almost acient Ansel Adams charts runs through modern day SLR’s. I found that once I achieved a mid level point 5 stops down would take me to true darkness and 5 stops above would take me to over exposure.



The transfer of information from a pre set 720 colour grade inside the Devinci changes to a flat 12 bit raw image through this section. A LUT is set (Look Up Table) which can reset the camera to its original settings. The 720 compression is almost an automatic grade the program does.





Black White and Mid Values

Using the Ansel Adams chart frequencies can be changed to sit in their true levels making it possible to achieve true whites and also skin tones. Blacks will sit at 2 and bellow; mid around 5 with the whites reaching the top of the chart. Once this is done t is possible to manipulate the colou created a stylistic look to your project.



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