Comment by mrandish

I broadly agree with what you're saying. In my post, I was specifically addressing cases where a lack of expressive diversity in looks is a result of the factors discussed - basically the failure mode where color grading becomes a crutch instead of one part of an intentionally crafted look. In non-failure cases, color grading can be fantastically expressive and a key element in the cinematographer's toolbox.

As I mentioned, the problem is a strange lack of visual diversity in looks. I'm all for increasing artistic and expressive range and I'm not one of those pining for old-school processes. As you said, film had and still has a lot of limitations. Having been involved in both pre-digital film production and analog video production, we had to spend stupid amounts of effort to avoid or overcome the inherent technical limitations we were saddled with. It was incredibly frustrating and I'd spend time dreaming about a future where those technical (and chemical) limitations no longer haunted us. I guess that's why I'm sort of dismayed that so many creators aren't utilizing the truly incredible technical fidelity even consumer gear provides today.

I should also have mentioned I don't fully agree with every point made in the video I linked but it is a terrific way to highlight that the issue isn't technical limitations of digital production. It's either an explicit creative choice to settle for visual blandness or the result of not making explicit choices leading to an ambient default sameness.

> We decided that there's a wider range of ways movies can look, and we're intentionally taking advantage of that for creative freedom.

That's what I find delightful about today's best work. And I'm fine respecting different creative choices, as long as someone actually thought about it and made those choices intentionally because they believed it was the best realization of their unique vision. But it's also true that the range of looks in today's content isn't as wide as it should be. There are still too many productions that suffer from that default blandness due to a lack of creative intention. I just refuse to believe so many DPs really woke up passionately committed to that particular orange/teal palette as the ideal expressive vision for their current project. Or the recent epidemic of 'HDR-flat' desaturation. We can and should strive to do better - to think and create different and deploy the full palette of expression we're so fortunate to finally have at our fingertips. I want to see and celebrate a broad range of expressively unique, creatively opinionated looks - even ones I don't personally care for - whether created in-camera, in grading or even purely in CGI.

I should also add that there's still an element of technical limitation driving some of this default to visual conservatism. Sadly, inconsistent (and sometimes just broken) HDR implementations across consumer viewing platforms is a frustrating issue and I sympathize with colorists and mastering engineers prepping content for literally 200 different distribution formats. While technically-based, these issues are all the more tragic because there's no underlying reason it had to be such a shit show of uneven implementation. HDR, wide color gamuts and deep color spaces are all well-specified and purely in the digital domain. High-quality digital processing and conversion is inexpensive and built into even cheap HDMI encoder chips so even the cheapest consumer displays with limited capabilities should be able to map content created with higher color spaces and wide dynamic ranges so that they still broadly represent the creator's intent. Yet too many still fail to properly handle mapping HDR and WCG content.