2010 brought about a word I’ve been seeing a lot of recently: “Latitude.” It started with the release of the Arri Alexa and all the comments about the super-pretty highlights. Red and Arri RAW have been around but suddenly the non-studio folks were sitting up and taking notice.
2011 is yet produce amazing new tech along these lines (perhaps closest was the F3 S-LOG output over SDI) but I suspect next week will be full of it. The recent announcement from Technicolor about making it’s CineStyle profiles available for Canon DSLR users to allow for the most latitude is sure to bring this word to the masses. Given how much DSLR video users feed their own hysteria, this is my prediction for 2011’s buzzword in post.
As a colorist this makes me exceedingly happy. If it does color management in the EOS line well, it will fix the number 1 issue I have with DSLR video. Why is latitude so great? Here’s a couple screengrabs of the same shot. The first is an untouched, straight of the SI2K image, the second is with some correction I slapped on it in First Light. Pay attention to the scopes.
Time of Capture
After Some Manipulation
Look at the room I still have to adjust things. It’s nearly infinite; no blown highlights, no crushed shadows and my slap adjustments there produce a lot of color and contrast while maintaining all the detail. (Don’t get picky, it’s not a real grade, I just moved some color around).
While I don’t think the CineStyle profiles that Technicolor is going to produce will have the same amount of latitude that a capture directly from the sensor in raw form will, anything will certainly help make things better. I’m excited to see what they come up with. And for the record, the SI2k single-handedly produced the best image I’ve ever worked with. I’m grading a RED project this summer so the comparison will be fun.