Major Project: Edit Research learning about colour science

From researching cameras to find out what we were going to shoot on I also needed to establish how it would work out in the edit. And that is where this indepth level of research came from; as DoP and Editor I wanted to shoot to edit and this is something I strived for from the beginning Pre-Production Unit. Somehting this research has taught me is that resolution doesn't matter; it is in many ways a myth. It is very difficult to explain but the video below should help explain it better. Such videos and books were my way of research and I found it explained simply was the best way to understand it. There are Arri cameras that only shoot in HD that are far more expensive than cameras form companies like RED that shoot in 8K. But the reason companies like Arri are so successful is because of their color science more than the resolution. Technically 4k as described in Netflix's requirements is technically only 2.5K because there are gaps in the pixels. For example, a lot of mobile phones today have the ability to 'shoot in 4k' but that doesn't take into account the color, the size of the sensor  or any of those factors; so whils tit shoots in 4k you are still left with it looking like it was shot on a phone. After weighing up UHD over 4k I found that the storage sacrafice wasnt justified and UHD is closer to 4k on the Blackmagic that most other cameras as it is downscaled 4k rather than upscaled.

My research journey ended up with the differences in CODEC when exporting and editing footage. Whilst the software used here is Davinchi Resolve, the way it is able to match colors is incredible and a lot mroe straight forward than what I am use to on Premier Pro.


How I broke this down myself:
I found the diagrams used here useful Firstly there is a strong difference in colour between cinema and televuision. Television and computer monitors is fairly similar in terms of its color gammet.

The first stage is what I have been doing since day dot:





As you can see from the examplesa used here, there is a strong difference between the colour iutputs when using different methods and the Resolve color management is by far the best as it is able to match up clips to the color codec selected for tv or cinema. Tv uses the codec 'Rec. 709' whereas cinema uses 'DNxHD' which to put it in a colorspace diagram is this:


So televisions tend to be more saturated in color than cinema. Whilst all this may seem overcomplicated and uneccisary it is actually important and something very heavily concidered in real production. Blackmagic shoots in film or vidoe; film is their version of log and the way it is exported can change the colorspace. When I exported I found that the colors were different to how they looked in the edit. For our graduate screening it is important to understand what color format would be best to export in order to show the film in its true potential when it is projected. 


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