Charts on set. What would one need ?

Margus Voll Jul 20, 2015

  1. Yes ... and this is a really nice feature over the ColorChecker for sure.
  2. The DSC charts will do this as well. But... read what Arri has to say about whether you want all the colors in the boxes. I generally just use the colors as a general guide to get them in the ballpark, plus you can see if one is terribly low or one is terribly high. Patrick Inhofer did a good job of covering this on a camera matching piece using Color Match on
  3. I also agree with the DSC charts. It is amazing how some cameras differently interpret some of the colors.
    Marc Wielage likes this.
  4. The amazing thing for me with charts was the discovery that blue is a little out of control on the Alexa... just like film. They gave the Alexa the same flaw (overly-sensitive blue layer) that film negative has. When you know that, you can knock down blue sensitivity a little bit, or use the Alexa transform LUT, whatever you prefer.
  5. Specially for a Anamorphic 2.39, it is REALLY important to shoot a 2.39 framing chart (if it's the Choosen aspect Ration) I've been thrown on a shoot were the chart was not done, and the desqueeze was wrong. The cinematographer noticed it on day 24. Nightmare.

    Chroma duMonde is really good for matching a B camera with a preset for livegrading and dailies efficiency. Given that they have been shot on the same lighting setup.
    Marc Wielage likes this.
  6. I agree 100%. It's amazing how many people don't grasp the importance of shooting a framing chart, especially when they deviate from the release aspect ratio (typically 1.78). I've had four or five recent projects that were shot in Red's native 1.90 aspect ratio, and they never realized that we would have to lose some of the picture for 1.78.

    The DSC people are really tops at what they do and I really like their charts. They are more expensive than the "cheaper spread" (XRite, etc.), but they work really well. The DSC people are also good to deal with on the phone -- they know their products well.
  7. Can someone explain the concept of a framing chart? Don't they have these effectively in a viewfinder/monitor? And isn't the editor going to reposition as needed anyway?

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  8. That is what went wrong in the shoot I mentioned above. There is a setting in the Viewfinder that desqueeze 2X, but from there, you have to position the mark on the monitor to fit the 2.39 frame, and put reference line on both sides. The cinematographer need to frame from these line. If he frames all the avalaible sensor space from both sides, he'll lose like 1/8 of the frame on each sides when the desqueeze is done from the 4:3 image in post.

    It is a crucial steps in test, specially when shooting anamorphic 2.39
  9. The key is for the director and DP to actually see the same image in their on-set monitor as the editor and other post people will see on their displays days later in editorial. If there is a reference every day, then there's no question "how much image area are we going to lose in the final?" This is very, very standard in film -- first shot of the day gets a framing chart and/or a color chart if possible. This is one of many traditions that's kind of been lost in the digital world, like camera reports.

    Because of the "look around" area (among other issues in certain cameras and formats), it's possible to wind up seeing much more than is actually being shot:


    I have been on shoots where they honestly believed they were getting X amount of picture, and then in post they realized with horror that they were losing another 5-6% of image area, which led to some major framing issues. Of course, if you're shooting 16x9 and delivering 16x9, this is not a problem. But if you're shooting full-frame 1.33 (as with some of the Alexa Studio cameras) or 1.91 (for Red 5K), then it can lead to trouble.

    My co-worker Jesse Kerosi over at Bling Digital in Hollywood did a terrific article on framing charts for digital crews:
    Arthur Ditner and Andrew Webb like this.
  10. Thanks. Yeah i was over thinking that big time
  11. Additional little question here :

    Just for info, when you desqueeze a 4:3 clip with Resolve using Clip attributes/CinemaScope, the image strech all the way to the sides, and THEN you crop to get the 2.39. But what is the frame of the Image BEFORE the cropping ? 2.70 ?

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