Week 14 (January 8 - January 13 2024)

I started this week by confirming a schedule to keep to over the next few months to ensure I can achieve an distinction by the end of the course in May. This current unit essentially acts as a mock to our FMP, deciding for the tutors what grade we are likely to end up with. So, due to this, I will be treating this assignment like an FMP, scheduling weeks for research, pre production, filming and post. However, before I can get into all that, I need to make sure my portfolio is completely up to date so I have no other distractions going forward. As a result, I scheduled this week to be a clean up, alllowing me time to do background research with watching films and making notes while my written coursework is for previous modules. There were elements that weren’t asked for on the briefs for the previous two assignments that I believe were necessary to cover for a rounded portfolio. 

Continuing to Wednesday, I found a gap in my Unit 9/10 work which was a fully realised research paper into William Shakespeare to support my adaptation. However, this means that my adaptation at the time wasn’t as thorough as it could’ve been but I can see where I went wrong and still learn from Shakespeare’s work for the future. I also had some exciting news come through as Scriveiner, the luxury pen brand I applied as a videographer for, liked my work and are in talks for part time work going forward, due to me winning a side step competition over the break as part of the interview process. Below is the video I sent in, reflecting their brand.

RAW Video VS LOG Video - notes from Friday

Most of today’s cameras have a single CCD or CMOS sensor.

These sensors use a Bayer pattern array of millions of tiny cavities called photosites, or light collectors. These photosites hold light for a tiny instant of time before converting it to a digital signal that’s read by the camera’s processing circuitry.

The Bayer pattern separates light into red, blue and green wavelengths.

The key difference with RAW and LOG is that the conversion is taking place in post-production software.

both RAW and LOG produce flat video that offer great flexibility for colour grading

RAW preserves all the camera sensor’s information and passes it on untouched for post-production. 

Using a LOG profile preserves more of an image’s dynamic range and tonality, but bakes it into the video.

They differ in how they impact the video workflow.

RAW takes data directly from the photosites and records it to video — completely unprocessed. Because this data is RAW, it is not viewable in any video monitor without a de-Bayer process.

LOG footage is only available in modern cameras

When a camera operator shoots LOG, the image is flat and desaturated. This adds the flexibility of colour grading in post.

LOG video maximised the amount of information from the film that could be stored. This information was in very low contrast and needed to be colour corrected.

LOG is a specific video format processed in the camera, unlike RAW, which is totally unprocessed

LOG footage can be viewed on an external monitor without conversion. And, because it’s a video format, certain components such as white balance and exposure are made part of the video.

LOG video looked washed out without post production

You cannot view RAW data on a monitor while shooting

RAW footage takes up much more space