Post-Production Tools are Changing the DP's Role. Is 4K Affecting That Role Even More?
At NAB 2014, cinema5D introduced a video series called "On the Couch," which featured both representatives of manufacturers and filmmakers from all walks of life. Cinematographers Rodney Charters and Bruce Logan, as well as Steven and Jens from Zacuto were all featured in a terrific video near the end of the show. The conversation ranges from gear, to how DPs are being left out of the color suite, to how realistic 4K will be as a display resolution in the coming years, and how 4K is allowing for even more butchering of the cinematographer's original intent in post-production.
Another topic was color correcting and the amount of control a director of photography has over his images in this day and age – where 4K allows the producer, director or editor to reframe shots without the DP’s consent. Also, there is hardly budget for the DP to sit next to a colorist in grading sessions. Consequently, Rodney and Bruce talk about how they often try to apply looks to the footage they shoot (through filters etc.) simply to regain some of that control.
The conversation is fascinating and all involved offer a wealth of knowledge, so even though it's a lengthy video, it's well worth it:
I think in terms of 4K, Rodney says something that I've mentioned a number of times, that higher resolutions are not just about theaters and big screen TVs. Resolution actually makes a far bigger difference when you're looking at a screen close-up, the way many of us do on desktops, laptops, and smart devices. This may be where these higher resolutions come into play before people adopt larger TVs to take better advantage of 4K and before we actually get cable systems delivering 4K (and with devices, including TVs, all getting smarter, realistic 4K distribution may happen on the internet long before it happens anywhere else).
Read more over on the cinema5D website.