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The Video Pipeline: Let Aaron show you the flow

The Video Image Pipeline

Not everyone understands, or even needs to understand, just what it takes to capture and deliver high-quality images in a video production. There are multiple factors that contribute to aligning what the cameras see, what our monitors show us, and what the creative vision is for any given project. Here, we will outline our process for guiding the image into the most ideal result we can provide to our clients.

These days, something as simple and convenient as smartphones have reached a surprisingly reliable level of sophistication when it comes to capturing and displaying images in a pleasing way… in most situations. But generally, the phone, or in some cases, even a professional camera on an automatic setting, will be making quite a few assumptions on your behalf about what you’re trying to achieve, and the result is sort of a best guess of what it thinks you want. To take control of these creative decisions, and avoid some common pitfalls, we always take into consideration the various elements that contribute to great-looking images and utilize them to the best of our ability.

 

Lighting (Exposure)

Exposure is arguably the single most important factor in any sort of image capture, be it photography, videography, film, a photo scanner, you name it. The goal is to make sure that an appropriate amount of light is hitting the capture medium, in our case, a digital sensor, to best reproduce the type of image we want. This is achieved through a balance of lighting, a lens’s aperture (the amount of light a lens is allowing through, and the shutter speed or shutter angle (the amount of time that the light is hitting the sensor for each frame of video). In some cases, such as an outdoor public event at night, sometimes we have to accept that there won’t be quite enough light getting to the sensor. In those situations, we just make the most of what we can get. The most common way of mitigating underexposure is to add some type of digital gain to the image, either in post-processing, or in the camera itself during recording. But this will always result in some level of detriment to the dynamic range, clarity, and overall quality of the image.

Here we have examples of images shot at different exposures and adjusted afterward to match.
An example of overexposed by 3 stops of light. This camera handles over exposure quite well. Still, a notable amount of damage has been done to the skin tone highlights.
Overexposed by 3 stops of light. This camera handles over exposure quite well. Still, a notable amount of damage has been done to the skin tone highlights.
An example of underexposed by 3 stops of light. Here we have the opposite problem. A substantial amount of noise has crept into the shadows, along with a color shift.
Underexposed by 3 stops of light. Here we have the opposite problem. A substantial amount of noise has crept into the shadows, along with a color shift.
An example of neutral exposure. In this case, the signal is mapped evenly across the dynamic range of the sensor, without losing detail in the highlights or shadows.
Neutral exposure. In this case, the signal is mapped evenly across the dynamic range of the sensor, without losing detail in the highlights or shadows.

This is an aspect that smartphones still tend to struggle with to various degrees when it comes to limited lighting situations. Although they rely heavily on some cleverly engineered processing to reduce noise and digitally sharpen grainy images, they are still inherently limited by the laws of physics when it comes to the size of the lenses and sensors they use.

 

Quality of Light   

Aside from the technical considerations of the exposure overall, it’s always worth taking the many other qualities of light into account as well to best correspond to the vibe or emotion we’re attempting to elicit from the audience. Aspects such as color, direction, softness, and the number of light sources will greatly influence the contrast and overall depth of an image and can elevate a video from looking thrown together to something much more refined and engaging. Are all these light stands and large modifiers taking up space really necessary, or are they just for show? Well, maybe to some degree we’re just trying to show off, but yes, they really do make a difference!

An example of no lights, only ambient daylight coming in through a window.
No lights, only ambient daylight coming in through a window.
An example of soft key light and a rim light positioned off to the right.
Soft key light and a rim light positioned off to the right.
An example of soft key, rim light, and negative fill added from the left.
Soft key, rim light, and negative fill added from the left.
An example of the rim light only, along with the negative fill in place.
An example of the rim light only, along with the negative fill in place.
An example of a hard key light. Notice the sharper shadows.
An example of a hard key light. Notice the sharper shadows.
An example of soft key, rim, and neg fill positioned for a less dramatic look.
Soft key, rim, and neg fill positioned for a less dramatic look.

Color Grading

You may have seen or heard terms like color grading, color correction, or color space thrown around in regard to video editing, but what does any of this mean? To put it simply, what a camera sees, and what our eyes see, typically don’t match up the way you might think. Consider any sort of stylized or preferential vision a director or client might have, and they’ll correspond even less. That is until some work is done to accurately map the digital signal from the camera into the image we see in the final video. A logarithmic image profile, for example, is typically used to record footage in such a way that it maximizes the amount of detail that can be captured by a camera’s sensor, allowing for more flexibility in tuning the image in post-production. This log image, as it’s commonly referred to, won’t look very pleasing (unless flat and desaturated is an aesthetic you’re fond of) until it is remapped into the image profile of whatever display the video is for, a theater projector, TV, computer monitor, or most often, a phone. This can be further complicated by the limitations, formats and settings of these various displays, but that’s a whole other rabbit hole we don’t need to go down.

An example of an unmodified log image as it was recorded.
An unmodified log image as it was recorded.
An example of the same image with a color space conversion to Rec709, a common display standard.
The same image with a color space conversion to Rec709, a common display standard.
An example of a light color grade softly brightening the subject and darkening the background.
A light color grade softly brightening the subject and darkening the background.
An example of a more stylized color grade using film stock emulation.
A more stylized color grade using film stock emulation.

This process of translating a log image into a display color profile on its own can sometimes be referred to as color grading or color correction. However, this should really just be seen as a sensible first step in beginning either of those processes with a legible starting point. There doesn’t seem to be a clear consensus on the distinction between color correction and color grading, but here’s one way to discern them: Color correction can be thought of as adjusting the image to more accurately reflect the way it looked in person, correcting any discrepancies in the color, contrast, or saturation, and matching the various cameras or angles so that they all appear consistent with one another. A color grade is typically in reference to a stylized or preferential treatment of the image. This can include warming or cooling the image, brightening or darkening areas of the composition to draw attention to a specific subject in frame, or adding film characteristics like contrast curves, hue shifts, split toning, subtractive saturation, halation, grain, etc. This can be useful for making a video feel movie-like, for example, or conveying a specific time period. For certain subjects though, like a product with specifically branded colors, it may make more sense to keep things looking as true-to-life as possible.  

If any of this sounds like sort of a nightmare, no need to worry! At NMCO, our video team is passionate about ensuring your video stays as closely aligned as possible with the creative vision, throughout the process. Our clients can be as involved or uninvolved with this process as they wish. Let us help you with your business’ creative needs. Go to NMCOstudio.comto connect with us.  

NMCO Studio member, Kahlo

Kahlo

Door Greeter & Cookie Eater

Kahlo is our gentle, friendly, office pup! He loves his belly rubbed, sniffing absolutely everything, and hasn’t found a treat he wouldn’t eat! Be sure to say hi, he loves the attention!

NMCO Studio member, Kelsey

Kelsey Gentile

Web Specialist

Once those websites are complete, Kelsey is our web maintenance manager. From regular updates, security checks, and content updates, Kelsey keeps our websites running smoothly, secure, and in tip-top shape.

NMCO Studio member, Annakat

Anna Kat Hollis

Senior Web Developer

Anna Kat is the driving force behind NMCO’s web development endeavors. With a sharp intellect, unwavering efficiency, and a keen eye for goals, she is the go-to expert for crafting everything from sleek landing pages to nationally acclaimed e-commerce sites. Anna Kat not only serves as your trusted web developer guide but also, if you look closely, you’ll notice she’s always impeccably color-coordinated with NMCO’s brand – a true testament to her attention to detail and commitment to the company’s image.

Zac Wittstruck

Animator

If you’re needing quality animation, Zac is your guy! Motion graphics, custom character rigging, and 2D animation are some of Zac’s specialties. Zac always wears a smile and is truly one of the nicest people you’ll meet. When Zac isn’t whipping out great animations, he plays bass guitar for a local jazz band! What a cool cat!

NMCO Studio member, Arron

Aaron Walterscheid

Video Specialist & Cinematographer

Meet Aaron, NMCO’s “Silent Assassin.” Despite his quiet demeanor, Aaron is an absolute powerhouse when it comes to videography, editing, color grading, drone operation, lighting, and crafting unforgettable cinematic experiences. His remarkable talent and expertise shine brightly, leaving an indelible mark on every project he touches.

NMCO Studio member, Sam

Sam Palm

Video Specialist & Photographer

Meet Sam, our resident photographer extraordinaire, who effortlessly transitions into the roles of Director of Photography, editor, color specialist, and an all-around Jack-of-all-trades. With an innate talent for capturing picture-perfect moments, Sam’s versatility knows no bounds. Beyond the camera, you’ll find him cruising the Southwest, embracing life to the fullest. Oh, and did we mention he boasts a head of truly great hair? 

NMCO Studio member, Ralph

Ralph Diaz

Senior Video Specialist

Don’t confuse Ralph with Academy Award-winning actor Johnny Depp. Although there’s a close resemblance, Ralph is much more talented behind the camera. He’s done it all from VFX to animation, to producing, directing, and editing some of our most memorable productions. It also should come as no surprise that he’s mastered the technical and practical aspects of videography, giving him the nickname, “The Doctor.”

NMCO Studio member, Dana

Dana Apodaca

Senior Graphic Designer & Art Director

Dana’s journey with NMCO has been nothing short of impressive, starting as a design intern and progressing to become a designer who now plays a pivotal role in assisting with art direction. Her dedication keeps our graphics department on track and ensures our processes are efficient and business-ready. Dana’s knack for creating identity systems has resulted in some of our most recognized work. And, if you’re fortunate enough to listen in, she’s consistently voted the best playlist in the studio.

NMCO Studio member

Dawn Franco

Studio Manager

With a background in journalism, file archival and organization, Dawn is our client onboarding extraordinaire. From contract preparation, to project management, account direction, and reporting, Dawn stirs the pot for most productions, making sure it’s served hot and on time.

NMCO Studio Co founder, Lucky

Lucky Gonzalez

Founder & Chief Executive Officer

When you have a wealth of creative content, you need someone like Lucky with 18 years of business experience to guide you on where to put it. He’s our media placement guru, with the expertise and know-how to maximize your impact. Whether it’s digital banner ads or broadcast TV, Lucky can take any budget and transform it into impressions and conversions. He’s dedicated to finding solutions for your unique challenges, making him an invaluable asset to our team.

NMCO Studio member, Tina

Christina Ballew

Founder & Chief Creative Officer

Tina, as a co-founder of NMCO, has been on a relentless mission to redefine creative services in the southwest. Building a creative studio from the ground up was a formidable challenge, but her vision and determination have transformed NMCO into a beacon of professionalism and innovation, known for its people-centric approach and out-of-the-box thinking. While she’s taken on nearly every role in the studio, Tina’s next ambition is nothing short of global. She’s poised to take on the world with her creative endeavors.