Apple MA434Z/A User Manual - Page 442

If you are simply doing color timing, as in the following example, you have an added benefit: All the color corrections concatenate into one internal operation. Wedging and Color Timing So, why have numbers in the LogLin node? These numbers are used to color correct your plate as a sort of calibration of your entire input/output system. There are (at least) two fundamental ways to do this: wedging and color timing. The following two methods are only suggestions. Every facility probably has its own system-there is no standard. When wedging a shot, you ensure that the files output from your entire digital process match the original film print. There are multiple places that color changes can intentionally or accidentally occur-exposing film in the camera, printing the workprint, scanning the data into digital format, digitally compositing, recording the digital plate onto film, and developing the print. You are saved on the one hand in that much of this process is out of your hands-the print lab guy was cranky because his delivered coffee was too cold, so what can you do? To limit discrepancies, use the Wedge macro in Chapter 32, "The Cookbook," on page 1000. This is a macro for LogLin that puts in preset variations of the offset values and contrast values, and steps up and down to try to find a match of the original scan. The process usually involves the following steps: 1 Make a workprint of your original negative. This is the standard to which you compare your digital output. 2 Scan the negative into a digital format (which usually creates log Cineon files). 3 Create a FileIn node for a single frame from the scanned image files, then attach the Wedge macro. 4 Visually, take your best shot at the exposure level. (You may have to boost the blue up or down 22 points to see what may work.) Remember that 90 points is 1 f-stop of exposure and 45 points is half a stop. 442 Chapter 15 Image Processing Basics