Services

One pipeline, three phases.

A look is a point of view, made visible. It is designed before day one, protected on set, and carried through the grade by the same people, so nothing is lost at a hand-off.

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The pipelineScene to screen, one working space, every transform documented
Camera
Native data from any body. The look is not in the badge.
Working space
ACEScct, or T-Log / E-Gamut
Look
Show LUT, per-shot CDLs, tracked from set to grade
Display transforms
Rec.709, P3, HDR, rendered from one family
Masters
DCP, IMF, ProRes, EXR archive
In practice

Authorship lives in the pipeline, not in the camera.

A look is designed in everything that happens after the sensor, and it survives only if someone carries it through. Here is what that means in each phase.

Pre-production

Look development and workflow design before day one, so photography starts with the pipeline already proven.

  • Camera, lens, and LUT tests with the variables isolated, and a written test report
  • Show LUT and color pipeline design: ACES or camera-native, OCIO configuration, CDL workflow
  • Data-management plan: naming conventions, folder structure, MHL checksum and backup policy, media lifecycle
  • Dailies specification agreed with editorial, the lab, VFX, and finishing: codec, color, sync, turnover format
  • Deliverables specification and pipeline documentation for every department
Test reportBefore anyone rents a body
Camera, lens, LUT
Tested with the variables isolated
Show LUT
ACES or camera-native, OCIO, CDL
Data plan
Naming, folders, MHL, backup policy
Deliverables
Agreed with editorial, lab, VFX, finishing

Production

Photograph it, and protect what was decided. On set, near set, or remote, on the production's schedule.

  • Cinematography: Joel E. Schaeffer as Director of Photography for narrative features, commercials, and documentary
  • On-set color management: calibrated monitoring, the show LUT and per-shot CDLs applied and tracked
  • Dailies and data management: card offload with MHL checksum verification, verified redundant backups, sound sync, scene and take metadata, camera and data reports
  • Dailies color that carries the on-set look into every file the production reviews
  • Editorial turnover in Avid DNxHD/HR or ProRes, and secure review deliverables for director, producers, and studio
DailiesEvery card, every day
Offload
MHL checksum, redundant backups
Color
Show LUT and CDL, tracked per shot
Sync
Sound, scene and take metadata
Turnover
Avid DNxHD/HR or ProRes

Post-production

The grade and the finish, in house. The look that was decided on set is the look that reaches the screen.

  • Color grading: the final grade in Baselight or DaVinci Resolve, carrying the show LUT and on-set CDLs through to the finished picture
  • Conform and online: editorial turnover reconciled to camera originals, DI setup and color pipeline verified before the grade
  • VFX pulls and returns: EDL, XML, and AAF hand-offs, plates, versioning
  • Finishing and mastering: DCP, IMF, ProRes masters, broadcast and streaming deliverables, QC
  • Post-production supervision and technical consultation for productions without a dedicated post supervisor
DeliverablesSpecified, rendered, checked
Conform
EDL, XML, AAF, reconciled to camera originals
Grade
Baselight or DaVinci Resolve
Masters
DCP, IMF, ProRes, broadcast, streaming
QC
Checked before delivery
Tools

The tools we work in

Industry standard, documented at every step, no black boxes.

  • ACES
  • OCIO
  • CDL
  • Baselight
  • DaVinci Resolve
  • Avid DNxHD/HR
  • ProRes
  • MHL
  • EDL / XML / AAF
  • DCP
  • IMF

The portfolio, credits, and booking form for Joel E. Schaeffer live at joelschaeffer.com. Bookings run through LightWave Media. joelschaeffer.com

Working with us

Tell us the production, the dates, and where the picture has to end up. We reply within two business days.

Email us Booking inquiries