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Video
Controller Versus
Color Correction in Post |
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Engineer
in Charge (EIC)
Tech Manager
Video
Engineer
Video Painting Engineer
Video Controller
Video Shader
Digital Image Technician
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Using a Video Controller
versus color correction in post is a question I am often asked.
There are many factors to
be considered in the debate and involved with the proper decision and
what is presented here are generalities.
To be considered:
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Budget
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Every production has budget
restrictions.
Shows that break their budget into production and
post-production often have difficulty justifying the cost of the added equipment and
personnel to properly set up and shade the cameras in the production
budget, yet in
post-production the color correction budget usually far exceeds that of
the cost of a qualified Video Controller/Engineer properly adjusting the
exposure and color matching of the cameras.
When a show starts with
properly shaded and colored matched cameras. the post process is
cheaper, faster and generally much more
pleasing in final output. This does not completely eliminate color
correction, as often the final look is tweaked
to satisfy one or more looks and feels for the show.
In general when a portion
of the color correction budget is applied to production using a video
controller and associated equipment, the overall cost of the show is
reduced, and post-production is sped up, with far better results.
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Camera
Mix
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Most Reality, News, Sports, and
Documentary shows use a mix of cameras to acquire their raw
footage. Many times sophisticated cameras such as the Sony F800
are mixed with Industrial or Pro-sumer Cameras, causing the
look to be startlingly different.
But some cameras, such as the
Sony F800 and Sony EX3 have the ability to be colored and irised by a
Video Controller, allowing him or her to match the cameras with great precision.
The connection to the remote control can be wired or wireless as
described below.
There are Cabled and
Wireless remote systems that allow
the Camera Operator to break away into Run and Gun mode in seconds, and
yet maintain color matching. The operator now becomes responsible
for proper exposure and correct filter selection, but the cameras are
now very closely color matched.
When Go-Pros and consumer
cameras are included in the mix, these can be color corrected through
color correctors and some frame synchronizers, but there is no control
of the Iris, so exposure can be compromised. Color Correctors can
be cost-prohibitive, unless the Director and
Producers wish to monitor and record them on external devices or
cut to them in a multi-camera production situation.
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Shooting
Environment
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For the purpose of this
discussion there are six basic Multi-Camera Shooting environments:
1)
Studio
2) Studio with Run and Gun Breakaway
3) Remote
4) Remote with Run and Gun Breakaway
5) Exterior Controlled
6) Exterior Run and Gun
The Studio environment is
the most common in which it makes full sense to employ a Video
Controller and associated equipment.
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Turnaround
Time
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Video
Colorist or Grader Access
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Recording
Format
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Media
Storage
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Radio
Control
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Run
and Gun
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In addition, if one or more
cameras breaks away from the main shooting sequence, they maintain a
basic color match that often allows them to be edited together with
little or no need for color correction. It now becomes the
responsibility of the Camera Operator to control the Iris and filter
selection, so errors can still occur.
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If the video is damaged,
it may not be recoverable. A properly trained Video Controller
carefully monitors each camera, making the necessary color and exposure
adjustments so any adjustments in post are minimized.
There is a hard fact that
cannot be ignored. If the acquired video is over exposed or the
video settings are greatly distorted, there is no possibility of full
quality recovery.
The determination should
be based on the following facts.
If you are shooting with
2 or more cameras under controlled lighting conditions and the program
has several hours of recorded material, a Video Controller will save you
thousands of dollars in color correction fees. If the cameras
On the other hand if the
lighting is not controlled and there are a lot of high contrast
circumstances, such as windows without silk or other light control tools
are in the back and the foreground is lacking enough punch to deliver
even balance of light, then Color Correction is your best choice.
Color Correction will allow you to address these issues in post, but it
will greatly increase your budget.
If you are shooting with
a mix of different brands and models of cameras, such as GoPros or other
consumer level cameras, then Color Correction is going to be the best
way to go. But if these cameras are mixed with a set of broadcast
cameras, then the video controller gives you a cheaper and faster
post-production,
there are several broadcast
quality cameras shooting the same subject, mixed with POV and
consumer cameras, then they should be under the control of a Video
Shader, and the
Post Houses are typically
biased because a good portion of their income can be derived from color
correction, and there are times when color correction is the best way to
go.
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| Whether
it is a mobile system, flight pack, or studio application I have the
skills and experience to design and install the most sophisticated audio
and video systems that fit your demanding criteria.
I carefully review your
logistical and creative needs and determine the most cost-effective
approach to your application. I then propose what equipment is
best purchased new or used versus renting on a periodic basis.
I always design the
systems for versatility, as your current needs will change over time and
the system you build today must be able to accommodate future production
requirements.
Because video and audio
equipment is constantly evolving it is very important that the latest
technology be employed for the best return on the dollar. I am
always reviewing and learning about new equipment and how it can be
employed in future systems. Sometimes, it is best to purchase used
equipment for certain functions to reduce investment risks as the
technology which is valid today has a very limited life cycle.
I collaborate closely
with all other vendors so the system fits neatly into the facility with
ample power, cooling, and space.
Whether you have a budget
or need one prepared for a mobile, studio, or flight pack operation, I
can design a system that is specific to your needs keeping within your
long-term investment goals.
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of the major advantages of a Video Controller on a multi-Camera
Reality show is the Video Controller provides real time feedback to the
Lighting Director or Director of Photography. When an area of the
set or location is too bright or not bright enough, the Video controller
lets the LD or DP know and adjustments can often be made, greatly
improving the look of the acquired video.
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must be a distinction made between a Video Controller, Video Engineer,
and DIT when it comes to reality shows.
Most Broadcast Quality
Cameras have hundreds of menus and sub menus. Some are irrelevant
for many productions, while they may be very important for others. Only
a properly qualified Video Engineer, and some Video Controllers posses
the knowledge to make the cameras match precisely, and only if given the
time to do it. These adjustments will save you thousands in color
correction, and give the Color grader a fighting chance to precisely
match the cameras from scene to scene.
But remember, unless the
cameras are remotely controlled by a qualified Video Controller, the
Camera Operator is exclusively responsible for proper exposure and the
selection of the correct filter wheel.
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THE DIT
There is a misconception
that a DIT can properly set up a camera in a multi-camera situation,
whether it be in a studio or EFP/ENG environment.
Almost ALL DITs lack a
fundamental understanding of how a camera processes video and
color. They are best at making sure all of the cameras are
receiving proper time code, have the correct filter wheel selected and
where applicable download the acquired media to hard drives. NEVER
let a DIT make matrix table adjustments, unless they have a proper color
chart.
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THE
VIDEO CONTROLLER
Video Controllers have
far greater knowledge and understanding of color and matrix tables than
a DIT. They can accurately match cameras, when they have the right
equipment They know how to go through most of the menus and find
the little intricacies that make for a more accurate color standard,
greatly reducing Post color correction issues.
In a multi-camera environment
in which a qualified Video Controller has paint boxes or Remote Control
Panels (RCP), or MSU (Master Set Up Unit) allows him or her to iris the
cameras for proper exposure, and make black level adjustments so the
cameras have excellent matching characteristics. These control
devices can operate using cables or Wireless technologies.
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THE
VIDEO ENGINEER
Video Engineers bring an
outstanding understanding of how cameras process video and color and are
capable of matching camera w9ith great precision, given the proper time
and conditions. They are excellent at setting up the cameras so
they all have the correct color elements, even if two or more different
brands or models are being used.
Once the cameras are set
up by the Video Engineer, the DIT can then take control of the cameras
and make sure they continue to look great. Video Engineers usually
will store the settings to an SD card or memory stick, for each
camera. If the DIT screws up the settings, they can often be
recalled using these memory cards.
To maximize your crew
investment you should select a Video Engineer who also has strong Video
Controller experience for multi-camera productions, whether it be with
or without remote controls. The money you will save in color
correction costs will more than justify the added costs of an
experienced Video Engineer.
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Color
and Chip Charts
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chip chart is not a color chart and should never be used to make matrix
table adjustments. A 24 or 28 color color chip chart is the only
chart that allows for exacting adjustment and only under specific
lighting conditions.
A 6 Color Chip Chart can
be used for basic matrix table adjustments, but for precise color
matching only a 24 or 28 color chip chart should be used.
An 11 step chip chart is
used for adjusting video gain, black levels and gammas. But all of
those functions are predicated on accurate matrix table adjustments.
If the cameras do not
have precise matrix table adjustments, some colors will be exaggerated,
while others will be muted. No matter what adjustments you make to
Video Gains and blacks, it is very difficult to overcome matrix table
errors, even in Post.
Every time you add gain
to any color you are introducing video noise, making the picture
slightly more grainy.
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24 Color Chip Chart
28 Color Chip Chart
6 Color Chip Chart
Classic 11 Step Chip Chart
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