DITs: Maintaining Order on Set

By Karen Moltenbrey

The DIT, or digital imaging technician, can best be described as that important link between on-set photography and post production. Part of the camera crew, the DIT works with the cinematographer and post production on the workflow, camera settings, signal integrity and image acquisition. Much more than a data wrangler, Continue reading

The post DITs: Maintaining Order on Set appeared first on Randi Altman's postPerspective.

Netflix’s Lost in Space: mastering for Dolby Vision HDR, Rec.709

There is a world of difference between Netflix’s ambitious science-fiction series Lost in Space (recently renewed for another 10 episodes) and the beloved but rather low-tech, tongue-in-cheek 1960s show most fondly remembered for the repartee between persnickety Dr. Smith and the rather tinny-looking Robot. This series, starring Molly Parker, Toby Stevens and Parker Posey (in a very different take on Dr. Continue reading

The post Netflix’s <i>Lost in Space</i>: mastering for Dolby Vision HDR, Rec.709 appeared first on Randi Altman's postPerspective.

Netflix’s Lost in Space: mastering for Dolby Vision HDR, Rec.709

There is a world of difference between Netflix’s ambitious science-fiction series Lost in Space (recently renewed for another 10 episodes) and the beloved but rather low-tech, tongue-in-cheek 1960s show most fondly remembered for the repartee between persnickety Dr. Smith and the rather tinny-looking Robot. This series, starring Molly Parker, Toby Stevens and Parker Posey (in a very different take on Dr. Continue reading

The post Netflix’s <i>Lost in Space</i>: mastering for Dolby Vision HDR, Rec.709 appeared first on Randi Altman's postPerspective.

Color for Feature Films

By Karen Maierhofer

Just as with episodic series, making the right color choices can greatly impact a film and its storytelling. While the look and mood of a project is set by the director and DP, colorists face creative decisions while delivering those desired results, even when nature or other factors prevent it from being captured on set. Continue reading

The post Color for Feature Films appeared first on Randi Altman's postPerspective.

Color for Feature Films

By Karen Maierhofer

Just as with episodic series, making the right color choices can greatly impact a film and its storytelling. While the look and mood of a project is set by the director and DP, colorists face creative decisions while delivering those desired results, even when nature or other factors prevent it from being captured on set. Continue reading

The post Color for Feature Films appeared first on Randi Altman's postPerspective.

A colorist weighs in on ‘the new world’ of HDR

By Maxine Gervais

HDR is on many people’s minds these days. Some embrace it, some are hesitant and some simply do not like the idea.

But what is HDR really? I find that manufacturers often use the term too loosely. Anything that offers higher dynamic range can fall into the HDR category, Continue reading

The post A colorist weighs in on ‘the new world’ of HDR appeared first on Randi Altman's postPerspective.

A colorist weighs in on ‘the new world’ of HDR

By Maxine Gervais

HDR is on many people’s minds these days. Some embrace it, some are hesitant and some simply do not like the idea.

But what is HDR really? I find that manufacturers often use the term too loosely. Anything that offers higher dynamic range can fall into the HDR category, Continue reading

The post A colorist weighs in on ‘the new world’ of HDR appeared first on Randi Altman's postPerspective.