Reddit now supports HDR video.
oh and i forgott about netflix ads maybe comming soon… but then there probaby wont be a tier with HDR and ads…
It’s not common but it does happen more and more. Our SB spot was in look-dev parallel-to and final graded after comp. We’re running on-going multi-spot campaigns for a particular fast food chain that grades concurrent to comp and cleanup and we also just completed a multi-spot automotive retail package that was also graded at the end.
Initially these clients were skeptical but no longer. The time-saving benefits (not to mention the massive technical advantages for all areas of 3D and comp) of working on ocn is undeniable.
The streets will flow with the blood of the non-believers.
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But why is that, who came up with this workflow and for what reason?
To me it all sounds like some whacky workflow made to accomodate tape workflows?
We should be past that 
To be fair, it wasn’t wacky when in order to work things had to be scanned, and in the days before cPD/dmin-based calibrations were largely accepted as standards, there really wasn’t another way.
The terms “grading” and “transfer” were largely interchangeable for most producers for a reason and ways of working were solidified. By the time standards for digitally cloning ocn were established and digitization times weren’t bananas for commercials, cinealtas and vipers and reds were coming in wave after wave after wave that never stopped.
Long way of saying the old ways are only wacky now that there are better ways to deal with different components—not because they are old. Most workflows are born of necessity not just because.
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Wasn’t that long ago that people were “color timing” using photo-chemical processes… wasn’t that long ago at all.
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Yea soo bascially its old workflows that have about 0 technical reason to exist in 2022 
I know I am bold with this but I truly believe there needs to be a change (or there allready is, i havent worked on graded since about 5 years now, people dont even dare to bring this workflow up when I am in the room)
I belive the last stand is producers and DI houses that cling to their workflows as a means of extracting money from the process) . which reminds me of the record industry when napster happend
For as liberal as the west coast is, most post-producers are super conservative in their approaches and for good reason. High end commercial budgets here can be equal to episodic budgets in some European countries so they tend to not wanna roll the dice.
That said, economics of time and finance are driving the change as the reordering of process becomes based on “need” as opposed to “preference”—that’s to say they understand the argument of “if you want to get done on time and on budget” more than “it works better this way.”
I do believe once the number of shows going this way reaches critical mass (because once they understand they can get 4 weeks of work done non-linearly in 2 weeks it will blow their minds) then it will never go back. That point will take time and it won’t be driven by the guys screaming loudest in the room 
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hey @finnjaeger !!! I have to say I think you underestimate the efficacy of legacy workflows at your peril. 
I work for a company that is still quite profitable with (global) dvd duplication.
I think this is more a ‘best tool for the job’ argument than anything else. I love pre grade workflow and push for it almost all of the time. However when I’m constantly confronted with projects where schedule/workflow is dictated by the availability of the colorist (who may or may not provide LUTs… don’t get me started) or the client who refuses to present a WIP to the boss because it doesn’t have final color, I have to weigh that against the constantly varying skill level of the team I have (part staff; part freelance).
None of the above are an issue if I’m working on graded shots.
so if I have an incoming project that needs some coco cola logos in phone screens (MUST be the Pantone coke red color) ; some retouching / rig removal, NO CG, then in the year 2022 everyone gets home on time if we stay in pokey old rec709 that has been graded. ACES / pre grade IMHO is just overkill with those scenarios. I can layout the opposite scenario for VFX jobs (ie CG/ DMP/ chroma key stuff) but I think you get my argument.
does it feel old AF to work that way, hell yes, but the machinations to educate the client on a job like that just isn’t worth the effort I find. Other times absolutely need to have that fight for big VFX or recurring project with same client. so best tool for the job.
and yes, someone pls Napster the F outta this beyotch.
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@BrittCiampa I personally had a 4/5 year stint where living breathing chemistry was an integral component of my daily digital production life. A few degrees one way or another would swing my prints off aims and relying on a skilled hand who could interpret a small patch of grey with a densitometer alongside the latest sticks from chem meant the difference between a good day in the theatre and an a really irritated DOP.
There was a massive loss of color knowledge that ended with digital projection. Literally evaporated over-night.
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Jup, well said, its all in the human factor - so lets definetely napster this 
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I can understand resistance to the workflow if grading is provided by an external company. I haven’t worked much like this but when I have it’s been rather tedious.
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