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Indeed. Why DO they need to go to color correction? ... UNLESS.
They don't trust how the image will look TRANSFERRED TO FILM.
This is the only reason I can come up with. Perhaps Charles Papert will comment on this. I am just guessing here... but I am thinking that what they are looking at in the clip, is a FILM PRINT of their digital image. In other words, they haven't eliminated the processing and printing part of looking at dailies..
This dovetails with another article I read, where DP's are very unhappy with looking at digital dailies, because they are not seeing what the projected image will look like. Perhaps, what this clip reflects, is an effort to merge the two workflows? Remember... while film has been eliminated in the production process... it's still IN the delivery format. At some point, you have to see what your images are going to look like projected on a big screen. Again, my point being that the workflow of HD production, is causing what are normally POST processess to be pushed earlier into PRODUCTION processess.
Granted, I have limited experience in terms of feature productions, but this is my observation both first hand, and as relied to me by my creative partner, who shoots both film and HD.
IN a small budget production, you will forgoe many steps. But in a major production, when holding onto a set is a matter of enourmous time and money, you need to KNOW you've got what you need, before you strike and move on... hence the need to get a film-out on your digitals before striking.
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