All Things Color for Film and Digital Cinema
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DI Movie Posters

dinosaur-island-posterinfiniposterpredestination-postergreat-gatsby-poster-110306644_304133756430714_5869085925177622421_na82312c02wuwish you were heremuirhouse-posteru5MoDUQRii9dEnBAg4PAj5rzqCdDaybreakers-posterwebaccidents_happenwasted-on-the-young-movie-poster-2010-10206931084407CANE TOADS 1SHT.inddjohn_doe_vigilanteneedleimagesa_heartbeat_away_poster015319da9f9dd9313subdivisionstorage-poster_280x415600full-lake-mungo-posterirresistible_bThe_Jammed_Film

fivemomentsofinfidelitycover-1

boytown-movie-poster-2006-1020442085rats-and-cats-poster-0

wilthe-secret-movie-poster-2006-1020481627

december-boys-movie-poster-2007-1020402805

autumn-moon-movie-poster-1992-1020297792


ColorShare – Usage

colorshare124

ColorShare for Android

 

USAGE

With the onset on Digital Acquisition systems not everyone can afford an onset colourist or Post facility Colorist to process and grade each take for editorial dailies. More often than not your dailies will be processed as a “1 lite” using typically 2 – 3 different Luts.  If you have the luxury of having graded dailies Color Share can still work for you in communicating the color intent of a scene to the colourist or Director.

Outlined below are some of the ways you can introduce Color Share into your color and rushes pipeline. Click on an option below to learn more.

 

1 Lite Dailies

Acquisition – Raw / LogC Prores / LogC DNXHD

Camera Dept Monitoring with production Rec709 monitoring LUT.

In this “Indie” scenario where graded Rushes don’t fit within the budget and you’re not shooting on a sound stage you’re also going to end up with a number of sequences in the edit that are a little bumpy. Time and natural light constraints can also factor when day light is quickly disappearing and all you want to do is have peace of mind that a shot is easily salvageable, knowing that on the rushes its going to look a little under or over cooked.

In this scenario save stills to your camera (Alexa allows you to save LogC Jpeg stills while you’re shooting) and have them transferred to your android when the Mags are turned over to your DIT .

COLOR SHARE

    • Import the relevant stills into Color Share and Select and Activate the same production 3DLUT as used onset.
    • When Assessing exposure use the “printerLight / RGB exposure ” tools first.

If in doubt you can send the Stills and the CDL’s to your colourist. They can assess for you and possibly suggest some alternate color timings.

NOTE : Make sure ASC CDL mode is activated in the Preferences. This will ensure all the other functions such as Texture overlay and Vignettes are de-activated.

 

Graded Dailies

In this scenario Color Share can be used to create CDL’s or BLG’s to send to the rushes colourist as a true color representation guide of the preferred color intent of a scene or setup.  The colourist can then use this reference to balance the surrounding shots. Loading a CDL into Color Grading Applications is pretty trivial these days. Unlike sending a LUT a CDL is loaded as an adjustable Color Grade meaning it can be tweaked depending on the surrounding shots.

Alternately the colourist can receive stills remotely and grade and pass on CDL’s or BLG’s to the DIT to use for the processing of editorial rushes .

Color Share

    • Import the captured LogC stills into color share
    • Apply the production LogC2Rec709 Lookup Table.
    • Send Cdl’s and reference baked color Image to Colorist or DIT.

Email Colorist the ShootDay Folder Container containing the days reference grades. As the cdl’s have the same name as the reference camera clip most systems can automate a cdl / clip name match.

Alternately you could upload the files to Google Drive or any other cloud based storage for shared access.

NOTE : Make sure ASC CDL mode is activated in the Preferences. This will ensure all the other functions such as Texture overlay and Vignettes are de-activated.

 

 

Zipping Files and Sending

Sending Folders of Still and CDL’s is easy.

Download a program off google play such as “ASTRO File Manager”. Its Free.  Other options below.

Navigate to the ‘ShootDay’ Folder that you have created your Stills in. They will reside in

/SDCard/colorShare/save/yourProjectName/

Within the application find the “zip” option. With the folder highlighted select ‘zip’. Its now ready to email from your preferred email host.

Alternate File Manager options with the ability to Zip Files and or Folders include:

AndroZip Free File Manager

ES File Explorer


Site Updated and trojan removed

I finally removed the Trojan JSWonka  ’java script’ from the website. If you are running wordpress and have had similar problems you may find this link useful. Thank you to those regulars who helped me.

http://www.marcosorfila.com/site/?p=325

Adrian


Adding Grain to Digital images – increased perceptual Sharpness

Adding Grain to Digital images to enhance Perceptual sharpness and possibly perceptual color separation.

Here are some new stills from the ‘Protected’ post that was originally pulled due to image content problems. I am in the process of refactoring the original post to discuss MTF and related ‘sharpness’ issues.

Below I have posted some crappy low res, fast loading stills with links to the full res images. You most likely wont see a visual difference in the imagery looking at these jpegs.

First off is a full frame image showing the cutout/ image extraction that i have extracted for the following examples.

fullframegrain

For reference I have also included a white guideline around the original images within which the grain has been overlayed. Outside the lines remain unaffected.

himnograin himgrain

Links – Man No Grain     Man With Grain     (The Links are quite big files in PNG format.)

All the images bar one are from a RED shoot. As a reference I have also inserted a 35mm super 2k scanned image. I have on purpose included a ‘head shot’ of a similar photographic size and taken the exact same extraction from the original frame.

35mmoriginal

Links – 35mm Reference

I felt while grading the RED job that I constantly wanted to add a textural content to the images, because in essence from my POV they were A: visually soft in comparison to film and B: way too clean, in a videoish sense.

hernograin hergrain

Links – Woman No Grain           Woman With Grain

By finely adding a moving granular overlay to the images I believe the result looks sharper ‘perceptually sharper’ that the original. The result I found was better than just sharpening the overall image which, although helps in bringing out skin tone detail also potentially causes aliasing problems later and can if used incorrectly make the image jut look like sharp video.

The addition of grain also has the effect of dithering color and greyscale content.

The idea of adding grain to video images is nothing new and has been done for years as an effect in making video and CGI imagery look more filmic or integrate more seamlessly within a predominantly film based project. This though I believe is a different take on the method where we are using it to create a visual sharpening of the images and hence add depth to otherwise ‘flat’ imagery.

Adrian


Color Blindness – An amazing experiment –

 

Today I performed an interesting yet simple experiment.

 

Marcie - Color Test

Marcie - Color Test - Fig A

 

Regarding the LAST POST ON COLOR BLINDNESS I began pondering what an emulation of Color Blindness would look to to a person with such a “visually challenged color perception”.

As a test I invited two colleges to view an image both as natural color original and as a emulation of Color Blindness.

Here is the website I used to view the color emulation.

http://www.vischeck.com/vischeck/vischeckImage.php

Both images looked near identical to each viewer.

BUT here is the amazing bit. 

Using a Macbeth color chart Fig.B as a test, I then asked my friends to label the colors they saw.

Once again to their eyes the two images were ‘the same’ in color…….

 

Macbeth Test

Macbeth Test - Fig .B

No Macbeth  Name           Red/Green Deficient Name A      Red/Green Deficient Name B      
1 dark skin Dark Chocolate     Brown      
2 light skin Skin     Tan      
3 blue sky Light Blue     Light Blue      
4 foliage Olive Green     Green      
5 blue flower Light Blue     Light Blue      
6 bluish green Washed out green     Tan      
7 orange Terra-cotta     Light Green      
8 purplish blue Ultramarine     Purple      
9 moderate red Red Brick     green      
10 purple Night Sky      Purple      
11 yellow green Ochre Yellow     Yellow      
12 orange yellow Sunday Latte     Orange OR Green      
13 blue Meadow Morning     Blue      
14 green UltraMarine     Green      
15 red Brick Red     Green      
16 yellow Yellow Ochre     Yellow      
17 magenta Fuchsia – Lilac     Pink      
18 cyan Light Blue     Light Blue      
19 white Polar Scape            
20 neutral 8 Polar Scape 2            

Friend A interestingly noted wearing Polarized lenses made colors more intense and therefor more distinguishable.

Doubly interesting was the fact that Friend A  really liked 3D movies as the colors became more intense. I wonder if this is because the eye is being given two distinct references of polarized spectral information to help distinguish the colors.

I found it amazing that both friends saw the Pink in the aparently Grey patch on line 3 of the simulation Macbeth Chart. It seems almost identical to the grey patch below it. Anecdotally, Friend B told me a story about ordering a new grey kitchen bench a while back. He was mortified on coming home one day to find his new pink kitchen bench!

 

Adrian Hauser


China Girls .

 

China_girl7

China_girl7

For a bit of fun and curiosity I will update this post over time with images of China girls. China Girls are used to adjust and check printer density.

They provide subjective and objective colour and gray scale patches.

These patches can be read on Densitometers to confirm the process. They are a standard laboratory test film usually incoporating a face and a greyscale; used for printer line-up.

 

 

 

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Color Blindness….. and color fatigue

 

An image from the ishihara test for color blindness

An image from the ishihara test for color blindness

Color Blindness and color fatigue has been the cause of quite a few conundrums in the grading suite.

We have all debated with friends, at some point in our lives, the perception of color between each other. “Do you see the blue of the sky the same way I do?” Someone who has been color blind all their lives takes their perception of color as gospel. 

What’s interesting is when grading a project over a few hours without a break or watching a feature film your internal reference point of what is a correct Balanced Image easily shifts. Technically it only takes 40 minutes for ones Color reference to become ‘reset’, taking on what is presented to you as the new correct reference. In a dark theatre without any external color reference point this is very easy. In this way I find TV grading and feature film grading two quite different beasts. In a darkened theatre our perception of subtle  changes in dark tones is much more than that of a typical television viewing environment where traditionally images are ‘pumped’ to jump off the screen.  

With this in mind can one be trained to be temporarily color blind in 40 mins?

I am currently making up some look up tables that emulate different color vision deficiencies. I’d love to use them some day in a film where perhaps one of the characters is color blind.

An interesting site is this one where you can type in a web address and it will show you how that page or image is percieved by someone deficient in say, Red/Green color.

Here is the site to go to to check your color vision.

Ishihara Test

Adrian


Interesting Links

techni20041        

 


  An opportunity mainly for myself to keep a database of interesting links that I can share with others. View all posts here

Interesting Links


Adrian