BCineSkills Article Category: Post-Production
Storage
STORING STORIES Data storage may not be the most glamorous of technologies, but in today’s world of digital filmmaking it is every bit as important as the camera. Tom Mitchell is the founder and technical director of Mission Digital, supplying DITs and digital lab services for 14 years. “Storage used to be – in the … Read more
Dave Alex Riddett BSC and David Sproxton CBE / “Sledgehammer”
POP-MOTION Shot in just six days by a small crew dedicated to their craft, the music video accompanying Peter Gabriel’s “Sledgehammer” is still admired as a shining example of stop-motion success. 37 years after the video’s release, two members of the team reflect on the boundary-pushing process of discovery and invention. Having garnered an abundance … Read more
A brief guide to HDR, ACES and Dolby Vision for DPs
If you’ve had a bad experience with HDR (High Dynamic Range) in the early days, or been forced to use an ACES colour workflow at any point, I hope you might find this article useful. So far I’ve graded fifteen HDR projects, including Sex Education, Fleabag, Landscapers, Top Boy, Gangs of London, Persuasion (feature) and … Read more
Workflow and the role of the DIT
PERFECTING THE WORKFLOW We explore the evolution of the digital imaging technician’s role in helping achieve maximum image quality, the workflow wizardry surrounding it, and their collaboration with cinematographers and other members of the production team. In the early days of digital cinema, digital imaging technicians emerged for what seemed like three main reasons. One … Read more
Virtual production
A NEW REALITY LED volumes are an exciting new tool in the cinematographer’s toolbox, mixing the real with the unreal. Four cinematographers who have already embraced the technology share their experiences. The term “virtual production” encompasses practices like pre-visualisation and remote location reccies, but its most exciting branch is in filming itself: the ability to shoot … Read more
The VFX Supervisor-DP Relationship
THE REAL AND THE UNREAL “In my experience, most DPs get VFX. They’re often a technical bunch who love cameras and gear so they get what we do,” says Geoff D.E. Scott. Scott has supervised his share of visual effects, both on celluloid-shot movies, like Richard Donner’s underrated thriller 16 Blocks and Robert Eggers’ career-launching … Read more
The DP-Colourist Relationship
Colour My World The Craft / The DP-Colourist Relationship Colour My World The Craft / The DP-Colourist Relationship BY: Trevor Hogg The final creative to have an impact on the look of a movie or television series is the colourist who works closely with the director and cinematographer. To better understand the dynamics and evolution … Read more