Advanced Digital Film Course RAW Vs LOG November 2012

We open a new call for our advanced digital cinema course RAW Vs LOG organized by 709 Media Room and Rafa Roche.

Is shooting in RAW the same as shooting in logarithmic? what is the difference? does it influence the dynamic range of the image? what is the workflow in each case? how do we expose the mid-gray in RAW or in Log? does the development influence the exposure we make of the RAW? Although recording in RAW media or with logarithmic gamma curves is done daily by many professionals, we are not always clear about the differences between these concepts and the consequences of choosing one or the other. Differentiating them in depth technically will allow us to choose the most suitable type of camera and media for each project and workflow.

In this intensive course, Rafa Roche, cinematographer specializing in HDTV and digital cinema, will explain in a theoretical and practical way the differences between these two types of media. Working with high-end cameras and recorders (Arri Alexa, Sony F3, etc) with both types of recording, students will learn to differentiate these concepts and thus be able to obtain the highest image quality according to the project. They will also explore the post-production and color correction workflows and their differences in time and results for each type of camera and media.

TEACHER: Rafa Roche and Luis Ochoa

Rafa Roche, cinematographer specializing in digital cinema and stereoscopy is one of the relevant figures of digital cinema in Spain. Member of the AEC and ACTV and partner of Ars Stereoscopica, his more than ten years of professional experience as a cinematographer have led him to work in feature films, documentaries, television and advertising. A great communicator, he has developed his teaching skills in numerous centers and courses nationwide and through his own training project, Roche HD.

Luis Ochoa is a colorist, post-producer and director of photography. In recent years he has worked as a colorist in London, color grading projects for the LFS, and in Spain color grading feature films (Cecilia y Juan), documentaries (Por la gracia de Luis) or television (Tierra de Lobos). He has coordinated the post-production of numerous projects for the company Avid Technology and holds the ACI (Avid Certified Instructor) qualification. He has been giving post-production and color correction training in multiple national and international centers since 2004.

DURATION: 10 hours

PRICE: 270€ (240€ booking before October 20th) You can see the rest of the available discounts here, they are not cumulative between them nor with the early booking discount.

WHEN: Sunday, November 11. From 9 am to 8:30 pm.

WHERE: Ondas Formación See in Google Maps. If you need any kind of information, please contact 709 Media Room by calling us at 668840783 or sending an email to info@709mediaroom.com. Ondas Formación does not coordinate or administer this course.

COURSE CODE: LOG40-111112

AIMED AT: Directors of photography, camera operators, Data Management, DIT’s, post-producers, and video and photography professionals who want to learn all the possibilities of the different responses offered by digital cameras to take advantage of the maximum dynamic range.

PREVIOUS KNOWLEDGE: Basic photographic knowledge, basic knowledge of current digital cameras, such as Arri Alexa, Epic/Scarlet, Sony F35, F3, F65, Panasonic AVC INTRA…… In no case in this course the specific menus of each camera will be explained.

OBJECTIVES: This is a theoretical-practical course that provides the necessary knowledge to understand the response of the different gamma curves of current cameras, their contrast ratio and dynamic range, the differences between linear and logarithmic capture, how to capture in Raw, what advantages it offers, how to use matadata, how to view images correctly, LUT’s, etc.

LOCAL: The classroom will be combined with the “set” so that the different theoretical explanations will be practically seen during the course.

MATERIAL USED:

• Arri Alexa Camera

• Sony F3 camera

• Panasonic AGHPX-500 Camera

• ArriRaw Recorder

• IDX Endura HL9 Battery

• IDX VL-4S Battery Charger

• Sony SxS Pro 32GB card

• Matte box Arri MB19 2+1 filter 4×5.6″ + 4×4″

• Arri FF-4 follow focus control

• Red Bomb EVF Viewfinder Red Touch 5″ LCD Monitor Red Touch 5″ Remote Redmote DSMC Grip DSMC Bracket Kit Red DSMC complete 19mm

• RedVolt Battery

• DSMC Travel Charger Red DSMC Travel Charger

• Redmag 128GB SSD

• Red Station Redmag 1.8″ SSD disk drive reader

• Set of 6 Arri/Zeiss Ultraprime T1.9 lenses

• (16, 24, 32, 32, 40, 50 and 85mm)

• Arri/Zeiss Ultraprime T1.9 16mm lens

• Arri/Zeiss Ultraprime T1.9 24mm Optics

• Arri/Zeiss Ultraprime T1.9 32mm lens

• Arri/Zeiss Ultraprime T1.9 40mm Optics

• Arri/Zeiss Ultraprime T1.9 50mm Optics

• Arri/Zeiss Ultraprime T1.9 85mm lens

• Chrosziel light cover ring 100-95mm

• O’Connor Ultimate 2575C Mitchell Tripod

• Tripod Ronford base Mitchell

• Sachtler V-25 Tripod

• Sachtler tripod 150mm high

• TVLogic LVM-241W Monitor

• MFO Astro 3015

• MFO HD multifunction Astro WM-3014

• MacBook Pro 17″ with Blackmagic Ultrastudio 3D and analysis and ingest software

The equipment used may vary slightly depending on the availability of the rental house, guaranteeing equipment similar or superior to those shown here.

CONTENTS

1. INTRODUCTION GAMMA CURVES

What is a gamma curve and what is it designed for? Digital revolution: possibility of modification of gamma curves by the user.

HD Revolution: Linear and pseudo logarithmic gamma curves. First film gamma curve: Film REC. The chaos of user gamma curves.

2. LINEAR LOGARITHMIC AND RAW TODAY

Current range curves: linear and logarithmic. Characteristics and recommendations of use according to each manufacturer. Viewing: Waveform and control monitor, Lut’s and Look Files. Dit Stations

The Raw revolution, what is RAW capture? Advantages and disadvantages. First Raw cameras: Red One. Raw today: Epic, Scarlet, ArriRaw, F65Raw, Black Magic Camera….

Exposure control: waveform monitor, histograms, Raw Meter

3. COMPARATIVE PRACTICES

Linear vs Slog Sony comparison

Comparison LogC, REC 709, DCI Arri

Log vs Raw comparison

Comparison, color correction with Davinci of the generated raw data.

3. CONCLUSIONS

When and how to use each gamma curve?

You can download the documentation for the course here

Camera equipment provided by Ovide