Rec. 709

And also I feel like Australian TV, we just don't have the budget to put a lot into post-production.

Like the color grade on Australian, you know, reality TV is quite often, like, you know, a banging out REC 709 sort of look, whereas you look at American programs, you know, like the American sports programs, and they look stunning.

Like I used to shoot, um, Countdown for UFC, and we shot that all on Red.

Yeah.

So it's...

So when we, when I started in the business, there was just kind of Rec.709 as the target.

Yeah.

And then film print as the target, and that was it.

Mm-hmm.

What were your thoughts at that time? What was your process? How did you solve for it for Light Iron?

Well, we finished everything, um, at the, the very early fa- at the very early stages, we were finishing everything directly in Rec.709, and then, and then the lab, the l- when we did the filmouts, the lab would do their own internalized conversion to, to print density, which is-

So they would take the display referred image and like sort of invert it-

Yeah.

Not everybody have time to record in log mode and then convert to the Rec.709 and then edit the video.

I do

understand that.