@@KindaLikeWater It's pretty crazy how complicated movie post-production is. Even without any CGI effects. Colour, gamma, saturation, black levels, lighting, gamut, temperature...
So basically, dynamic range is all the scale between your white and your blacks, the bigger your range is the more details you can get in darks and highlights. The Latitude which is sometimes confused with the dynamic range is the quality of these details especially in the dark, when you edit and give more exposure to the shadows you'll see some noise/grain, the more and the fastest you get grain/noise by openings the shadows the less latitude you have. most of the time , the bigger your dynamic range is the more latitude you get but a big latitude doesn't always mean a big dynamic range.
Does anyone knows a good book, website or video about color correcting motion picture film? I mean a deep how-to, not basics. Basics you´ll find everywhere.
I worked in Digital Intermediate color timing as an Assist when the process first began and I can tell you, it’s a long, tedious process set against the racing clock of each project’s release dates - a process not for the thin skinned or today’s overly sensitive generation. The pressure is overwhelming. 12-14 hour days, 6-7 day work week. People get yelled at. I’ve seen grown men cry. And each new day, you had to come in as if it didn’t happen. You could not openly/outwardly hold a grudge against being worked to exhaustion or being insulted (often times in front of a theater bay full of colorists, post supervisors, even the director of the movie themselves). You had to emotionally dig in, press on, and do your job better than the day before. As long as you followed this unspoken rule, you paid handsomely and if you were as smart as you were tough, you learned more about movie making & the relationships required to interact with than you could in any - and I mean any/every, including USC, UCLA, NYU - school or college because no film school/college/workshop teaches courses on how to deal with the sword of Damocles-like pressure of the constant reminder there is a ticking-multimillion-dollar-budget-deadline-clock with an almost impossible to beat margin of error or the insane egos fueled & fostered (and even rewarded) by toxic entitlement. Next to hanging & banging drywall/sheetrock, it was one of the best jobs/educational experiences I’ve ever had.
He's referring to the quality of the film prints that they initially scanned for colour correction. Positive film prints tend to have less detail and dynamic range as the original negative print they are made from. This isn't always an issue, but it sounds like the night scenes were underexposed and they couldn't adjust the levels of the image without revealing a lot of the film grain and noise in the shadows of the picture. By getting those scenes reprinted and scanned from the original negatives, the gained more detail and latitude in the image to rework properly for the digital version of it.
“tweaked that bad boy” I love David Lynch😂
lol
As a videographer, listening to David talk shop is like biting into golden fruit handed down from Heaven.
I always wondered why blooper footage looked slightly different from the final.
I feel like I have watched certain versions of Wild At Heart where the night scenes are indeed very grainy. Interesting to hear this story.
so color timing is the adjustment of light and dark. this solved the mystery in my head for years. thank you.
And not just light and dark, but also color temperature, etc.. Giving the images tones of blue, yellow, orange, beige, etc..
@@KindaLikeWater It's pretty crazy how complicated movie post-production is. Even without any CGI effects. Colour, gamma, saturation, black levels, lighting, gamut, temperature...
It's literally the amount of time you expose the film.
𝕥𝕨𝕖𝕒𝕜𝕖𝕕 𝕥𝕙𝕒𝕥 𝕓𝕒𝕕 𝕓𝕠𝕪
is he on fire?
Barney McCann
Probably smoking a cigarette
I love how he says "DeeVeeDee". It sounds like a commercial from the '50s. Very quaint. Every household needs one.
now everything is just orange and teal
Or Mexico.
@@Yora21 The Fire Nation has less orange than fictional Mexico does!
What does he mean by latitude, is it the ability to manipulate dynamic range? 1:49
So basically, dynamic range is all the scale between your white and your blacks, the bigger your range is the more details you can get in darks and highlights. The Latitude which is sometimes confused with the dynamic range is the quality of these details especially in the dark, when you edit and give more exposure to the shadows you'll see some noise/grain, the more and the fastest you get grain/noise by openings the shadows the less latitude you have.
most of the time , the bigger your dynamic range is the more latitude you get but a big latitude doesn't always mean a big dynamic range.
I would spend significant money to be in David Lynch's presence for 5 minutes.
Does anyone knows a good book, website or video about color correcting motion picture film? I mean a deep how-to, not basics. Basics you´ll find everywhere.
I worked in Digital Intermediate color timing as an Assist when the process first began and I can tell you, it’s a long, tedious process set against the racing clock of each project’s release dates - a process not for the thin skinned or today’s overly sensitive generation. The pressure is overwhelming. 12-14 hour days, 6-7 day work week. People get yelled at. I’ve seen grown men cry. And each new day, you had to come in as if it didn’t happen. You could not openly/outwardly hold a grudge against being worked to exhaustion or being insulted (often times in front of a theater bay full of colorists, post supervisors, even the director of the movie themselves). You had to emotionally dig in, press on, and do your job better than the day before. As long as you followed this unspoken rule, you paid handsomely and if you were as smart as you were tough, you learned more about movie making & the relationships required to interact with than you could in any - and I mean any/every, including USC, UCLA, NYU - school or college because no film school/college/workshop teaches courses on how to deal with the sword of Damocles-like pressure of the constant reminder there is a ticking-multimillion-dollar-budget-deadline-clock with an almost impossible to beat margin of error or the insane egos fueled & fostered (and even rewarded) by toxic entitlement.
Next to hanging & banging drywall/sheetrock, it was one of the best jobs/educational experiences I’ve ever had.
“Overly sensitive generation” you’ve just found other things to cry about, stop acting like you’re tough lol
"A process not for the thin skinned or today’s overly sensitive generation". Lol go back to bed grandpa.
sounds like you had fun!
Thank you Lynch!
I wonder what he meant by "the bad" fine-grain positive. Presumably the first FGM was improperly timed?
maybe he meant it was just to flawed for dark scenes?
He's referring to the quality of the film prints that they initially scanned for colour correction. Positive film prints tend to have less detail and dynamic range as the original negative print they are made from. This isn't always an issue, but it sounds like the night scenes were underexposed and they couldn't adjust the levels of the image without revealing a lot of the film grain and noise in the shadows of the picture. By getting those scenes reprinted and scanned from the original negatives, the gained more detail and latitude in the image to rework properly for the digital version of it.
The master!
@Rob Finlay I came here to write the _same exact_ comment, haha. Lynch is amazing!
anyone know what year this is from?
It says "© 2004" at the end of the clip, so I'd guess it's from that year.
I’m sorry but....
What year is this?
Wild at Heart was released in 1990
What’s the Nicolas cage film called
wild at heart
Straight from John Ford.
Ironically the night time scenes on the wild at heart blu ray are incredibly dark and grainy as fuck
2:16
he must not have liked working with nick cage given how he loves returning to past casts all the time
The ugly green one was later picked off the cutting room floor and became The Matrix.