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Data Haven:
White/Black Points for film Color Values for grey cards Your typical gray filmed out frame should have color values of 110 across the board. 8 points off of this number either way consists of a f-stop. Film on Flame/Inferno On a flame, there are multiple options for creating a partition. 24-bit - otherwise known as 3 channels (RGB) of 8-bits; 36 bit - 3 channels of 12-bit; or 48-bit three channels with alpha at 12-bit. You will notice that none of this allows you floating point nor logorithmic scales to work with the images. This becomes a problem because most high-end film houses are working with 10-bit Log Cineon files. Flame/Inferno, or is it the monitors, ultimately only can view in linear space which means the files themselves are going to be compressed in some way or another. To get around this problem there are a couple of options. 1. You can convert the files to linear scale, do the work you need to then reconvert them to log space again for film out. Several VFX houses used to do this back in the day, but isn't the recommended methodology. The technique involves compressing the log space files into the linear format, sacrificing white and black details mostly (and some color space). Note: This step is ultimately going to have to be taken if there is CG that needs to be added to the shots. Then reconverting the files to log space again after the work has been completed. 2. The best bet is to create an 24-bit partition (8bit) and fake the color space you are working in. Flame allows you to import logorithmic files into the box but as anyone that has viewed a cineon file on a monitor before can attest the colors look blown out or washed out and not representitive at all of what the image will look like once filmed out. Appearences aside, the image, once imported into the flame without utiliting a look up table (LUT) is still considered log space. Granted its been truncated from 10bit to 8bit but its still in log space. The 2 bits are of course important but for sake of what a human eye con distinguish they are an acceptable loss. Monitor Temperature Monitors should be at a temperature of 6500K which loosle translates to the same temperature a film projection bulb would be emitting. Kodak 35mm film stock
As a rule, faster stocks will have too much grain in the green and blue layer to make good keying stocks. Daylight stocks, although generally finer grained, need to be filtered for indoor use and therefore are not always a prime choice for studio effects work. (However, they do work very well in exterior daylight.) EXR stocks, although very good for keying, can sometimes introduce an undesirable "edge" enhancement along highlight edges when using greenscreen. (However, this problem seems to be nonexistent when using blue.) And, although the SFX 200T stock was designed specifically for blue and greenscreen effects work, at NTSC resolution the less expensive Vision 200T can often work just as well. 16mm stocks are often poor effects stocks for several reasons (grain, image float, etc.) and therefore aren't represented here. http://www.kodak.com/US/en/motion/products/negative/h1so214.shtml For filmmakers creating ever more spectacular effects, one challenge is to make them more seamless, to hide their magic so it blends more naturally into the story. KODAK SFX 200T Color Negative Film can help meet that challenge. This outstanding hybrid film from Kodak was developed for the most difficult compositing applications. SFX 200T Film is optimized for traveling matte shots, so foreground action photographed against a blue or green screen can be separated more cleanly from the background when it's scanned into the digital format. In complex composite shots, this film can save time in postproduction. At EI 200, this film intercuts seamlessly with other KODAK Color Negative Films used to record live action footage. Even visually astute audiences will find it difficult to determine where visual effects begin. The filmmaker's vision can be made real with fewer compromises. KODAK SFX 200T Color Negative Film is a medium speed, tungsten-balanced color negative camera product with microfine grain, unprecedented sharpness, and high resolving power. It features wide exposure latitude and accurate tone reproduction. SFX 200T Film is a special order product from Kodak. Carl Zeiss DigiPrime Lens Chart
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