Colombia. The VIII edition of the International Light Show, held between May 16 and 21 in Bogotá, Colombia, took place at the facilities of Congo Films thanks to an alliance that allowed to enjoy a stage very consistent with what the festival means and its objectives.
The International Salon of La Luz is an event dedicated to the image, to the creation with the light and to the direction of cinematographic photography. Within the festival, films in competition were enjoyed in the categories of fiction and documentary feature films, fiction and documentary short films, advertising spots, video clips, experiments in cinema, preserved film and university work, where the area of Cinematography was exclusively awarded.
TVyvideo+Radio spoke with the director of the International Light Show, Jorge Mario Vera, who commented that in this version they wanted to open a space for a mini fair and offer all the equipment that is required for the craft of audiovisual creation, they gave specialized workshops in camera, optics and color correction.
"Technology is a great ally for the director of photography who is in charge of building with light, the image. The new HDR technology returns us to the design with the light, to return again to the reading with the photometers, the light meters that are already regulated to give the electronic record, this would make the director again to the cinematographic trade, "he said.
Theoretical events on light were developed, with international guests, technical conferences and Show-rooms, with the exhibition of the latest technology in cameras, films, lights and supports for the moving image. In addition, the exhibition "122 light years" was held, with the projection of some of the most important films in the history of cinematographic cinematography, and a tribute to the 100 years of the ARRI brand (developer of some of the most important advances in cameras, lenses and lights).
Within the festival you could see cutting-edge technology in the so-called mini Audiovisual Fair, where the exhibition and demonstration took place with the best equipment: optics, cameras, lights, and everything related to the audiovisual industry presented by Arri, Angenieux, Kino Flo, Slam, Vidiexco, Thelight, Ryby Light, In Light Magazine.
The academic part was developed under different activities, including the Forum Red and Colorfront, dictated by Travis Sims (RED), Gabo Kerlegand (Colorfront/NMF), where his approach showed the WORKFLOW of RED with the DIT tools of Colorfront (Express Dailies), in addition to a practical way it was clarified how the optimal result can be achieved in transcoding, as well as the different color spaces that can be used and their correct combination during color correction on set.
Then, this same exhibitor held a workshop focused on the creation of simple workflows, for the use of Colorfront tools on the set. The doubts of how we can optimize the color flows between the set, editing and online were cleared, as well as the visualization and pre-correction of material to speed up the post production, and all the issues related to the management of the different HDR curves and the transfer of the information for the post production and the generation of the different deliveries (deliverables).
To complement the talk, an informative session took place where attendees had the opportunity to learn about the ways, functions and what to know about the RED Digital Cinema line of cameras. The session covered the key components to work with the new 8K S35 Sensor, the RAW workflow and the finest points to consider when exposing with RED's in-camera tools.
On the other hand Gabo Kerlegand (Colorfront/NMF) granted a private session on the workflow between the Sony F55 camera, until the hdr mastering using the Colorfront Transkoder using the Sony X300 monitor for the visualization of the sLog3 to HDR conversion in its different curves. Currently this workflow is used for the generation of content in 4K HDR with Netflix, HBO, Amazon, among other OTT platforms.
Also, the attendees enjoyed the presentation of the color management tools on set and the perception of color, what we call the Applied Color Engineering , they talked about how to work with different cameras without losing the same creative look and last but not least, the capture and meta-data of color, does not embed in the capture. This presentation was in charge of Daniele Siragusano, Francisco Monje of Film Light, Leonardo Otero of 2:35 Digital and Post Populi.
They were six days of intense academic work, masterful presentations and delight of films with great work in his photography.
Texto written by Luis Pinto, advisor of TVyVideo+Radio. Photo: Erin Priscila Pinto.
