Crooked Path Films Blog

My 5d rig

The 5d2 is not made to be a video camera.  It’s a digital still camera with video capability.  But like the inventors of Silly Putty who were trying to invent a new type of fake rubber in WWII, Canon ‘accidentally’ made a revolutionary video capable camera with amazing resolution, dynamic range, and depth of field that doesn’t need an adapter.  Canon’s intention was to make a camera for photojournalists.  This leaves the camera lacking in many areas that make it a true professional video camera like scopes, zebras, manual audio gain control, appropriate guides, variable frame rates, a native h264 codec in a Quicktime (.mov) wrapper, and on screen levels and other information.

I combed the internet for tricks, tips, hacks, workflow suggestions, and software to work-around these deficiencies and turn this DSLR into a lean-mean cinematography tool.  Unfortunately for those like me who get this camera for its amazing video capability, each piece of very useful information is spread out all over the place….at least I haven’t found a site that’s an “all in one” guide for using the Canon 5d MkII, specifically with Adobe Premiere cs4.

So this is my contribution to the 5d2 filmmaking community…a Comprehensive Guide to the Canon 5d Mk II and Adobe Premiere.  There are many options out there for each of these tricks, and I will try to point out…along with my recommendations…the alternatives and why I believe them not to be the ideal choices.

NOTE ABOUT FRAMERATES: There still isn’t a good fix to change the camera’s framerate from 30p to 24p.  I’ve seen some fixes around on the internet…but they all cannot truly correct the framerate without slowing the video down or blending frames.  (”Blending frames” is when the editing software tries to determine what to do with the extra 6 frames when you convert the 30p footage into 24p.  It essentially will blend 2 frames together, making one frame at a lower opacity than the other frame.)  You can see this very well in my video below.  I tried to convert to 24p and you will notice, especially when the cars are driving by, that there’s a stuttering effect.   The good news is, Canon announced they are releasing the ability to adjust the framerates in the first half of 2010.

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1) Upgrade the camera’s firmware to add Magic Lantern. Price: FREE

There is a disclaimer on the website that says that they aren’t responsible for their software breaking your camera.  That worries me a bit, but then I saw that thousands of people have used this on their cameras and haven’t had a single reported problem with it.  I put in on my camera and it works great without any errors so far.  The main thing to note is that this software writes only to the camera’s RAM…meaning you must reload the firmware via the camera’s menus every time you turn the camera off and on.  That alone offers you the protection of a system reboot to fix any errors should they arise.

This firmware will update your camera to add:

• On-screen audio meters
• Manual gain control with no AGC
• Zebra stripes (video peaking)
• Custom Cropmarks for 16:9, 2.35:1, 4:3 and any other format  (you can actually create your own in MS Paint, haha)
  • TIP:  When using custom 2.35:1 cropmarks…upload the bitmap file that comes with Magic Lantern into Premiere and overlay it over your footage as a custom guide!
• Control of focus and bracketing

Make sure you watch the videos and read the entire site before uploading to your camera.

2) Add the ExtraFlat style setting.   Price: FREE.

If you are fine with the camera’s internal gamma settings and the ability to adjust the contrast, sharpness, saturation and are NOT planning to do any post color grading, then you won’t need this.   I always recommend getting good color grading software and learning to do it in post production.  I use Magic Bullet Looks plugin for Premiere primarily.  You can read about my reasoning behind this here.

When you do color grading in post, it’s important to leave the camera at it’s flattest gamma curve so that the sensor will read and record the most information in the shadows and the highlights.  This will make the picture coming out of the camera super flat and washed out looking.  But when you are able to capture all that information, it leaves you with the most latitude in post for color grading.  If you do not use the ExtraFlat setting, you will end up losing information in the shadows and highlights that you will never be able to get back should to want to in post.

This setting flattens the gamma curve in the camera.  You can still adjust the contrast, sharpness, saturation in the camera…it just that you have a very flat baseline to adjust from.  I recommend if you are color grading to leave those settings where they are when you upload this setting.

I have tried the Marvels Cine Gamma setting and like the way it flattened the image and made it look very filmic, but unfortunately it makes faces look like plastic or clay…which is not good.  Keep this on handy if you shoot nature or other shots where people aren’t the focus of the frame.  For example, I use this when I shoot something like a building backlit by a bright sky, as it provides for detail in both the sky and darker building.

Make sure you disable the following: auto lighting optimizer, peripheral illumination correction, highlight tone priority, and iso noise reduction.

3) What Accessories you will need for Shooting.

• CF Cards

The rule of thumb for video is approximately 12 minutes of footage for every 4 gigs of card space.  This is a very convenient and affordable way to capture your video!  The 32gb cards will run you around $100…and in my opinion a bit overkill.  It should get you through a day of shooting and then some, but keep in mind if you fill it up, it will take awhile to dump onto a laptop.  If you’re on a set with cast and crew…it’s not good to make everyone wait for you to empty the cards.   I recommend getting 2 cards, whether it a combination or 8gb, 16gb, or 32gb…that will allow you to send the full card to the laptop for offloading, swapped for a fresh empty card.  I have the 32gb card, and then I got an inexpensive 8gb to use while offloading.

You need a CF card that is generally rated at least about 133x for decent use of the camera. It is a bit over the rated speed needs for video (I read somewhere that Canon recommends only 64x…but I haven’t tested this because the price for faster cards are really low) and you shouldn’t have any problems.  I have Centon brand cards (from Fry’s), and haven’t had any issues yet.  I’ve read that Kingston brand is quite good, and that the SanDisk cards can cause problems.  (Note: I have only used the Centons and am only telling you what I’ve read)

• Audio

JuicedLink CX211

This is a big area that was overlooked in the 5d design.  The built in microphone is similar to the mic on your cell phone….pretty impractical.  The camera has a 3.5mm mic input…but that doesn’t help pros with microphones that have standard XLR connectors.  Also…the camera has that annoying auto-gain that you need Magic Lantern (see #1) to fix.

The Answer:

Juiced Link CX211 XLR Audio Adapter/Mixer/Preamp ($189) This can record great sound into 2 xlr inputs, pre-amp with mixer controls, and outputs to the 5d’s 3.5mm input.  If you need a mixer with phantom power, get the CX23

• Support Rigs w/ Follow Focus

The 5d’s size is useful for hard-to-reach areas because it can fit anywhere.  But for  98% of shooting, it’s hard to hold steady while managing the focus and other settings.   You will need to get a shoulder mount with rails, and a follow focus to do any serious shooting.  Here’s the versions out there along with my thoughts:

The Answer:

Gini DSL17

Cavision DSLR Shoulder Mount Package ($846.95)   I love the pistol grips.  It’s like the ProAim but includes a viewfinder adapter and Cavision makes pretty decent stuff.  Very light.

Redrock DSLR Rigs (Varies) Having the Redrock Encore M2 bundle, I can honestly say that these are the best bang for your buck.  Very sturdy and professional with a first rate follow focus.  A little on the heavy side though.

“Gini” System (DSL-17) from Ebay/Korea ($310) This is the one I went with. You can read the board postings here, it seems people are very happy with this product, and I’m one of them.  This is an exceptional system, well built and very strong.  What I like about it, is you don’t HAVE to go with the configuration in the picture on the right…in fact the different ways you can set this up (handle on top, add a monitor rail, extend the rods to accommodate accessories like the JuicedLink, etc) are practically endless.   After I ordered Gini called me and asked if I wanted the new silicone shoulder pad, and of course I said “YES.”  I ordered the product on Wednesday and it was DELIVERED FROM KOREA TO TEXAS by FRIDAY.  Outstanding customer service and great product.  I will need to get the viewfinder and follow focus separately.

Zacuto and Varizoom options .  I haven’t tried these out, but they seem pretty solid.  Zacuto is quite pricey, though in my research it seems to have a great viewfinder adapter (The Gini seems very similar to Zacuto).   The Varizoom seems over-engineered and lacks a follow focus.  Again I haven’t tried these out but those are my initial thoughts.

• Lenses

See #5 below about depth of field.  Video pros who aren’t used to max DOF are in for a treat!  You WILL NEED good lenses to get going.  The 5d is very sensitive to light, much more than most video cameras.  I’d say anything faster than a f2.0 is overkill.  The sensor size will also throw you off.  If you’re used to a 50mm on a lens adapter, for example, it will look like a 35mm when you put it on the Canon 5d.  85mm lenses will look like 50mm lenses.  And so on.

The Answer:

If you’re a Nikon person and don’t want to sell your glass, get a Nikon-to-Canon adapter.  Also, here’s a place to find some good lenses without breaking the bank: www.keh.com

A link to Canon Lenses for sale. And another link for Nikons.

• External Monitoring

If you read #5 below about depth of field, you’ll also see that you need a good HD monitor.  Here’s a few that will work great with the 5d.

The Answer:

For Those with Non-HDMI Monitors HDFury Adapter (under $150)

The only HD output the 5dMkII has is MINI HDMI.  Many folks (like me) already spent a pretty penny for a nice HD field monitor that doesn’t have HDMI inputs.  Don’t worry, if your HD monitor has HD Component (RGB) or VGA inputs, you can get the HD Fury HDMI to Component adapter for under $150.  This is what I did, as I already own the IKAN v8000HD (has only the component, S-Video, and composite inputs).

Ikan 8” HD Monitor, V8000HDMI ($750)

Lillitput 7" LCD Monitor

These work fine but I’ve had to tweak the battery connectors with pliers to keep it from shutting off in the field.  This monitor is good because you can output to another monitor for your director.  Takes standard camcorder batteries for various brands, the one I am linking is for standard Sony L-series batteries.  It does not have scopes.  (But your camera will after the Magic Lantern upgrade)

Small HD DP1 Field Monitor ($799)

No scopes, but has a ton of other features, such as color adjustment, frame crop, scaling (allows you to see outside the frame edge).  It uses their proprietary brand batteries ($59) that can last 2.5 hours and are pop-tart sized.

Marshal 7” HD Field Monitor ($1099)

This is a great monitor and the one I recommend. It uses “false color” that change to show you visually what part is exposed or focused properly.  It also has freeze frame, 4 user config, and scratch resistant screen.  I would say if you can spring for the cost, the Marshall is the way to go.

Lilliput 7″ HD ($230)

I just got this one pointed out to me.  It seems like a good and VERY AFFORDABLE option.  I’ve read some forums and people seem to be satisfied.  This one stands for further testing, but for $230, it won’t put you on the street with a cup in your hand.

• Mattebox / Filters

The 5d Mk II is lacking ND filters, so you must either purchase filter to screw onto your lenses, or you can get a mattebox.  I prefer the box for 2 reasons, allows the attachment of flags for flare control, and makes the whole rig look totally awesome.

The Answer:

DV Mattebox with Rail Attachment ($325)

This is a cheaper alternative from the same Indian store as the Proaim support system mentioned above.  Comes with top and side flags, 4:3 or 16:9 aspect plate, 3 different sized foam donuts, 2 4×4 filter trays (2 slots available) and mount for 19mm rods.

Cavision 4×5.65 Mattebox for DSLRs ($500)

Comes with top flag only, 16:9 aspect, 1 rubber donut, 2 4×4 filter trays (2 slots available) and mount for 19mm rods.

Redrock microMatteBox ($635)

This is definitely the best bang for your buck.  An outstaning system for the price.

4) Recommended Settings

• I’m a Video Guy.  What About ISO Settings?

I found myself calling my photographer friends because I couldn’t really grasp ISO settings and how they work into shooting video.  Hey, I’m a video production guy…not a DSLR guy!

I’m not going to get technical, but here’s how you can look at ISO from a videography standpoint.  Look at it like a full-range gain setting.  You can lower this setting where there is more light, and raise this setting in low light.  In terms of optics, the ISO setting does not affect your depth of field.  So if you want prominent DOF with a sharp foreground and a blurry background…you would probably open your iris more and decrease your ISO to compensate.   In darker lighting conditions, you will want to increase the ISO.  BUT–Just like the gain settings on a video camera, you will start to see more noise apparent in the frame.  In my tests, anything above a 1600 ISO will give you noise. That is my recommended ceiling.

• Shutter Speed

If you notice, the 5dMkII in auto mode tends to adjust the shutter speed to compensate for the amount of light.  On video cameras, the iris is adjusted.  I always keep the settings manual…but still I thought that was interesting.  In videography, a higher shutter speed means less motion blur, darker images, and could also make the video very stuttery looking.  The Canon 5dMkII can go to 1/4000 sec!  Alternatively, lower shutter speeds bring more light into the camera, and motion within the frame tends to blur. Well, for photography, capturing motion doesn’t come into play, so you have more latitude to adjust the shutter speed.

I recommend you make sure the camera is set to fully manual, or you save your ideal settings to one of the user settings (c1, c2, c3) on the dial.  Choose the shutter speed that is best for your situation, and try not to go above 1/1000.

• F-Stops

We have always used Nikon lenses, which allows for iris control on the lens.  Canon lenses’ irises are controlled within the camera.  I happen to like this, because I feel the more control via the camera the more efficient it is.

5) Welcome to the World of Depth Of Field!

I’ve used our Redrock Encore lens adapter hooked up to our HVX quite a lot in the past couple years.  Using a lens adapter opens up a whole other ballgame to video production: critical focus.  Video cameras have small sensors.  1/3” to 2/3” are pretty standard.  The smaller the sensor, the more everything is in focus in the frame.  This is because the focal point of light from the lens is essentially being cropped.

With the 5dMkII, the sensor is a full sized sensor (24.0 x 36.0 mm) so you get some serious depth of field because we aren’t cropping the focal point of the lens.  For people used to a 1/3-2/3 inch sensor video camera, focus WILL BE AN ISSUE.  It gets you awesome cinematic looking footage…but unless you do it correctly, you will end up frustrated and unhappy with your footage.  The nice thing about the 5d is you can choose points in the frame to focus on, and press a button, and the camera will focus to that point.  But that only applies when the camera is not rolling. In order to focus while recording, you will need an external HD monitor. (see recommendations above)  Don’t think you can get by with a standard-def monitor here – if you try to focus with these you will find out that half your footage was out of focus.  The rule is this:  The “faster” the lens (the more open the iris and the higher f-stop), the less DOF you will achieve.  Less DOF means you can get foreground subjects in focus while the background is blurry, and vise-versa.    If you want everything to be in focus, close the lens to a higher F-stop and adjust the ISO to compensate.

You will also need a good follow focus. (See above)  This will allow you to find your focus points prior to shooting, mark them, and easily focus between the two points when recording.

6) Post Production Workflow, with Adobe Premiere

So you’ve shot your masterpiece.  Now it’s time to start editing the footage.  You will notice that the Canon 5d Mk II records video in a H.264 codec with a Quicktime (.mov) wrapper.  As a Windows user, I absolutely hate Quicktime.  It’s a stuttering interface that just isn’t practical on a PC, and it’s even worse when imported into Premiere.

Here are my recommended workflow steps and software:

1. Transfer the footage from the CF card to a folder marked “5dRAW” or something like that.
2. Download and install Cineform Neoscene. ($99)  You get a free trial for 5 days, but I recommend buying it.   The AVI files it converts to are about 10% bigger than the original QT files, and are a drea to work with in Premiere.  The following other methods I found floating on the internet don’t work very well:   1) Adobe Media Encoder, coverting footage to an uncompressed AVI.  This is the only option for best use in re-editing, however the files are 50x bigger than what you started off with.  2) Adobe Media Encoder, converting to MPEG2.  This makes about the same sized file, but MPEG2 is a bad codec for re-editing in Premiere…playback is stuttery and frustrating.  Even if you render the timeline (takes forever), you must re-render for every transition, effect, and alterations.   3) MPEG Streamclip.  See #2…produces basically the same result…unusable MPEG2 clips.
3. Open Neoscene and bulk-convert all 5d clips to a folder marked “5dCONVERTED” or something like that.  Go have dinner…the process takes some time but it’s surprisingly faster than what I expected (unlike Adobe Media Encoder which is much slower).  There is an option to convert all footage into 24p, but like I said earlier, it doesn’t covert it without blending some frames.   The conversion also changes the framerate from 30 to 29.97fps, but I don’t see any issues with that as is converts the audio as well.
4. Make sure you have updated your Adobe Premiere CS4 software.  (Updates available here)
   • (You can also reference Cineform’s website for the following setup)
   • Open Adobe Premiere CS4 and start a new project.
   • Choose a Location and Name for your project. and click ‘OK’.
   • The New Sequence window then opens. Click on the ‘General’ tab, choose ‘Desktop’ for the Editing Mode.
   • Choose 29.97  for the Timebase
   • 1920 x 1080  for the Frame Size
   • Square Pixels (1.0) for the Pixel Aspect Ratio
   • No Fields (Progressive Scan) for the Fields
   • 30fps Timecode for the Display Format
   • Your Audio Settings should most likely be ‘48000 Hz’
   • For the Video Previews, choose I-Frame Only MPEG
   • Click the ‘Save Preset‘ button and save as “5dMkII” so you don’t have to go through these steps again.
   • Type a name for the sequence in the Sequence Name box and click ‘OK’.
5. Import all converted clips into Adobe Premiere and edit away!
6. NOTE: There’s one strange glitchy thing about using Neoscene.  If you decide to go into the PROJECT panel, highlight the footage, and right click and choose “INTERPRET FOOTAGE” and then try to add effects and titles, it will move the clips in the timeline randomly to the start of the clip rather than keep the in-point you set.  Bottom line, DON’T INTERPRET FOOTAGE.

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That is the run-down of my recommendations and workflow for this awesome camera and Premiere CS4.  If I learn anymore tricks, if they release more firmware, and if a product comes out that I get and find it useful, I will update this blog posting to reflect.  Any help is making this guide more useful would be very much appreciated…as I am only “one guy” with my own preferences.  Others may find better solutions and I would love to hear about them

Happy filmmaking!

Rich

Rich holding his 5d rig

PS:  Here’s the test footage I shot in Dealy Palza, Dallas, TX.  You can see that converting to 24p makes the movement in the frame stuttery, the result of “frame blending.”

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HELPFUL 5D RESOURCES:

Philip Boom: An amazing DP/filmmaker from the UK who has joined (and sometimes led) the DSLR revolution.  He’s got very inspiring videos and tutorials: http://philipbloom.co.uk/

Planet 5d: The website boasts  “You’ve just discovered the best Canon 5D information on the planet!”  Nuff said. http://www.planet5d.com/

Canon DSLRV Wiki: This is an awesome all-in-one resource for the 5d, and includes this blog post in the editing section as well. http://wiki.planet5d.com/index.php?title=Canon_DSLRV_Video_Guide

Canon 5d Vimeo Channel: This group is dedicated to those awesome video that will be produced by the Canon 5D MKII camera.  See what others are making with the 5d: http://vimeo.com/groups/5dmkii

5d Forum on DVXuser: I’ve referred to DVXuser often throughout the years.  It’s a great resource to ask questions, look for gear to buy, and read up on tech stuff: http://www.dvxuser.com/V6/forumdisplay.php?f=166

DSLR Forum on Creative Cow: Creative cow is another great resource.  Outside the forum there is a bunch of tutorials and articles regarding many aspects of video production.  http://forums.creativecow.net/dslr

I joined the “Turnhere” network because I was starting out making money at what I love: shooting and editing videos. I was getting paid around $200 for a 1-2 hour shoot and another 2 hours of editing. Now many people can live with that, but after awhile I began to do more productions and talked to alot of local professionals and found out that the going rate for these types of videos I was making by local production companies are anywhere from $1000 to $3000. These are companies that own the same equipment I do, went to the same type of broadcasting/filmmaking schools, and are making a ton more money than me. Why is that?

Because I didn’t know any better. That’s the case with thousands across the country who provide video productions for these types of businesses. You’re making $200 while they’re billing at a higher rate. Now I’m not saying there is anything wrong with acting as an “agency” because agencies get us work.  The problem is that they make these videos available at such a low rate, and filmmakers are going along with that. I met many others who have worked for these types of companies – and all because they didn’t know any better. I’ve taken another hard look at companies like Turnhere, and realized that they are most likely looking for people who don’t know any better, because they know that true experienced pros that have been providing video production services for years would never do such jobs for that amount of money.

Needless to say I canceled my membership to Turnhere. I am also making it my company’s policy to inform and educate any up and coming video professional about companies such as this. The reason I feel education is important, is that these companies lower the standard rates overall for everyone in the industry. The more companies like this that open up….the more people needing video services will pass up the pros who are charging today’s standard rates for services provided by the guy charging the least.

It’s similar to what hotels call “rate integrity.” When I worked for a large hotel chain, they would never give out a room for half the standard rate, even if the hotel was at 1% occupancy. That’s because the more you start making exceptions the more people will come to expect those exceptions. When the hotels around you find out about your lowered rates, they will need to start making exceptions to compete for guests. Pretty soon everyone needing a hotel room will expect these lower rates as the new standard. Then when it’s time to go back to the standard rate, people won’t want to stay in your hotel because by then every other hotel in the city is charging less. Now if you’ve ever stayed in a name-brand hotel, you’ll notice they are pretty damn nice and well kept. Take it from someone who has been there…you DO NOT want to stay in a hotel that can’t afford the proper staffing and amenities to service the guests. Well, that’s what happens when you don’t maintain rate integrity.

Well, it looks like the founder of Turnhere is at it again…this time a new website that includes videos as accompaniment to classic stories. The website states: “A vook is a new innovation in reading that blends a well-written book, high-quality video and the power of the Internet into a single, complete story.” So they charge you money to listen to a classic story told in an innovative way using video. Pretty good idea. But unfortunately for the up and coming video professional who doesn’t know any better, they will again work for this company by providing this outstanding product for nothing more that $30 to $50 a video. That’s right, they will get paid $30 to $50 to use their years of training, eye for art, creative juices, and thousands of dollars worth of equipment to make compelling videos for a company that will profit heavily from such work.

Here’s the website: http://vook.com/

Here’s the invitation email I received from VOOK:

TurnHere Filmmakers,

Want to partner with Vook? We are an exciting new start-up company started by TurnHere founder Brad Inman – and we are looking for creative filmmakers who want to join the VOOK REVOLUTION and help create our exciting new product. Vook (www.vook.com) publishes enhanced digital books – mashing up the work of great authors with your incredible videos. Vook is on the cutting edge of digital book technology and we are growing rapidly. We are adding HUNDREDS of new Vooks this year. That means MANY HUNDREDS of creative videos for you to produce. We work exclusively through the TurnHere network and we are inviting filmmakers to create vook videos for one of their favorite old classic books as we turn public domain titles into Vooks.

You choose the title you want to work on, we’ll pay you $500 to produce 10-15 short videos for the vook PLUS a 10% royalty on the net sales of the vook you produce. That’s $500 up front, an additional 10% on every vook we sell after we cover the cost of production – AND you get full creative control. You are free to shoot original video, use existing video, images, photos, archival material, original music, graphics, animation – whatever you want – nothing is off limits.

Each Vook includes 10-15 videos that are integrated throughout the original book text in a way that enhances the reading experience. Take a look at our list of book titles below. Check out our web site at www.vook.com — and let us know when you want to get started.

Email stacy@vook.com and put Vook Classic in the subject line. Include a short proposal on ideas you have for creating videos for your Vook Classic.

I look forward to hearing from you!

JOIN THE VOOK REVOLUTION!

We can’t wait to hear from you!!

Check out www.vook.com

Stacy Waters
VP of Content Development
(415) 290-2960
stacy@vook.com

If you notice, they are saying they are paying $500 up front for 10-15 videos, translating into $30 to $50 per video, and you can make 10% of the profit from those videos.  (Which is not guaranteed).

The bottom line is, DO NOT undercut yourself for these types of companies.  Find out what others are charging for videos, set your rates, make them fluid to an extent so you can negotiate, and NEVER DEVIATE FROM THEM.  Just like the hotels, we video producers/filmmakers must maintain our integrity.  It’s okay to say no to offers for work that you know are not paying enough.  Just get out there and sell your services with confidence, and they WILL come….and companies such as Turnhere and Vook will be forced to pay what’s morally right.

Here’s an ASC (American Society of Cinematographers) presentation on digital cinema being integrated into traditional film workflow. Gives a great overview of film vs. digital then the process the ASC is promoting for best use practices for digital to maintain the filmlook. 

http://wwww.ascmag.com/society/pages/ASC_Tech_Dig_Look_Workflow.html#SlideFrame_1

If I have learned anything in the software-based world of video editing…it’s that achieving the look you want in your productions don’t have to be done purely by art direction, lighting, and in-camera settings.  There’s a whole new world to “painting” the picture…or should I say whole new “paintbrush” to use as it’s another tool that even Hollywood is using more and more in the big budget studio movies.  I’m not discounting the need for great lighting at all, so don’t misunderstand.  Nor do I think it’s always necessary as a general rule to never alter the image within your camera.  But these 3 primary areas coupled with art direction (the colors in the scene being photographed; like the set decor and actors’ wardrobe colors) are all necessary to work together to bring about the best desired color profile.

When I say color profile…I’m referring to the overall color gamut of your scene or movie or whatever you’re making.  This is important to decide upon before pre-production.  If you look at some Hollywood big-budget movies you can see that the color profile is no accident.  There is a general reference colors that compliment each other that Art Directors, Cinematographers, and Colorists use to get these profiles.  The Art Director, or anyone doing the art direction (like myself and many other filmmakers who must conform to low budgets and play 20 different crew members at once), must know which profiles are desired and make sure the actors’ wardrobe and set decoration matches said profile.  The Cinematographer (again usually me) must light the scene to match said profile and usually setup the camera (if digital) to achieve the desired results.  After editing, the Colorist will scrutinize every part of every frame to further adhere to the color profile.

NOTE: In digital cinema or video, the camera should always have the flattest curve with no in-camera alterations of color, contrast, etc if color grading will be done in post production.  I would even add, if you have the means, some scopes to the camera that allows you to see the threshold of the exposure and RGB profiles.  (Many cameras have this capability built-in) I can’t stress this enough!  Leaving the camera with the flattest image might not look all that great right out of the camera, but it records the MOST INFORMATION to the camera for best lattitude in post grading and giving you the most options to choose from when the color grading process starts.  Otherwise, for example, if you choose to alter the camera settings to crush the blacks or over-saturate the colors…you will NOT be able to brighten up those shadows or decrease the over-saturation in post and make it look decent.

EXAMPLES OF MY COLOR GRADING WORK:

Here’s a fantastic tool that I use that’s free to use from Adobe called “KULER:” http://kuler.adobe.com/#themes/rating?time=30 This will allow you to play with the colors you want in the film, and will show you 4 other colors that are acceptable to accompany them.  As you adjust one of the 5 total colors, the others will adjust accordingly.  Here’s a screengrab of a shot in Transformers that shows a certain color profile, again not an accident:

After playing a bit with Kuler, I came up with this profile as best I could…

You’ll notice that the color in the shadows are sort of green and the skin tones are sort of pinkish-orange.  You can see this color profile throughout the entire film.  Again…not an accident.

There are many many options for color grading software available.  The big-boys in Hollywood use the “DaVinci” system which does coloring in “real time” (allowing you to color while playing the footage without rendering) but doesn’t have nearly the options you have in software-based systems like Apple Color or the array of programs from Red Giant like Magic Bullet Looks (my preference).  Here’s a great tutorial by one of my favorite cinematographers, Phillip Bloom, on using Magic Bullet Looks: