All Things Color for Film and Digital Cinema
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Posts Tagged ‘color timing’

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


Color Share – Instructions

startup

 

open OPEN | SAVE | PREFERENCES

 

OPEN IMAGE :  openimage

    • Open an image from the SD-Card using your favourite Gallery. Make sure you select the image from a Gallery else currently the app will crash.
    • Choosing an image from “Recent Items” for example will crash the system.
    • Opens Dialog to choose either “Open As Is” or “Open and Crop”.

 

SAVE IMAGE:    save

    • Images are saved in the following directory on the SDCard

SDCard/colorShare/Save/yourProjectName/YourShootDay/

Project Name” and “Project Day” are set in Preferences

      • Save Options:
        • Image  -  Renders the current image as a JPEG
        • CDL  -  Saves the CDL file. (Use the CDL to replicate the grade in another system such as Baselight or Resolve) 
        • Original  -  Copies the Original image to the same location as the rendered version. (For use when sharing the ColorShare CDL)
        • Baselight BLG  -  Renders a Baselight BLG “grade”
        • Folder – Render all the above in a folder named the same as the input “filename”.

Example Filepath- input still is called A012_BR5E_A002.jpeg

SDCard/colorShare/Save/myProject/ShootDay_001/A012_BR5E_A002/

A012_BR5E_A002_colorshare.jpeg

A012_BR5E_A002.cdl

A012_BR5E_A002.blg

 

 PREFERENCES :  settings

    •           ASC-CDL Mode ON/ OFF

When ASC CDL Mode is On only Primary Color Correction and 3DLUTS are Active. Frames , Textures and Vignettes are Disabled.

    • User Name
    • User Email
    • Project Name

Keep files organised and create a new job Folder per Project

    • Project Shoot Day

If working on a film Shoot create a new “Shoot Day” Folder per day to keep files organised

    • BackGround Color

Black Grey White

    • Screen Calibration On/Off
    • Setup Screen Calibration
    • Show Hide Help Prompts
    • User Lut  File Path  1 – 2 – 3

Select and Set File Paths to User 3DLUTS.  (See below description under LUT menu for more info)

select_lut_off COLOR MENU

Lift Gamma Gain :  levels2

RGB Exposure :  exposure2

3Way Color Wheels :  three_way2

fx_on FX MENU

Vignette :  b_vignette

Texture : b_texture

Frames / Borders :  b_frame

ColorMap :  b_colormap

lut_on_z LUT MENU

  • Here You can select Preset LUTs or add your own.
  • There are three ‘USER’ slots for loading your own LUTs that must be in a flattened .png Format.
  • The User LUTS are loaded in the Preferences menu. Click on the button for each one to save the new path for each one.
  • Downloadable Null LUT Here.
    • IdentityLUT    Film Curves Example
    • identity    No Adjustment Example
    • Load the image above into your favourite color-corrector, apply the grade over the top and save with the same dimensions and in a png format.
    • Then import the resultant image into the LUT folder.

 

bypass_off  BYPASS MENU

 

save_off  PRESETS MENU

    • SELECT PRESET     b_openpreset

Opens PopUp Window with List of Presets in the database.

    • SAVE PRESET          b_save

Opens the Presets Manager where you can Save a new Preset or Overwrite an existing Preset in the Database.

Save / Delete Rename and Overwrite Presets.

    • OPEN PRESET FROM DISK    b_openxml

Open Preset from the options below:

        • Open standard ASC-CDL
        • Open ColorShare CDL with extended metadata.
        • Open ColorShare CDL with associated/linked image.

 

    • SHARE

Future

TIPS

    • Reset Color Parameters

In the color grading Menus “long hold” the top left text icon of the current page to reset the parameters.

    • Adjusting Parameters

When adjusting parameters  pull your finger down to the bottom of the screen while adjusting. The input values will still track and the screen will be clear of the value sliders.

 


The Great Gatsby – 3D

The Great Gatsby

2013

Director: Baz Luhrmann

DOP: Simon Duggan

Studio: Warner Bros

Senior Digital Intermediate Colorist and Stereoscopic Finishing Artist : Adrian Hauser

Grading Hardware: Baselight 8 & Baselight 2

Stereo Finishing  Hardware: Baselight 8 & Baselight 2

Acquisition Format – Red Epic 3D

Projection Format – DCI 2.39:1

 

The Great Gatsby.0089042

 

The Great Gatsby.0092281

 

The Great Gatsby.0092985

 

The Great Gatsby.0099310

 

The Great Gatsby.0110466

 

 

The Great Gatsby.0108023

 

The Great Gatsby.0176068

The Great Gatsby.0177515

 

The Great Gatsby.0178928

 

The Great Gatsby.0185093

 

The Great Gatsby.0185922

 

The Great Gatsby.0187318

 

The Great Gatsby.0194334

 

The Great Gatsby.0190217

 

The Great Gatsby.0191409

The Great Gatsby.0188206

 

The Great Gatsby.0194414

 

The Great Gatsby.0196659

 

The Great Gatsby.0199473

 

The Great Gatsby.0264524

 

The Great Gatsby.0265037

 

The Great Gatsby.0269527

 

The Great Gatsby.0267293

 

The Great Gatsby.0271292

 

The Great Gatsby.0274098

 

The Great Gatsby.0273370

 

The Great Gatsby.0346604

 

The Great Gatsby.0347801

 

The Great Gatsby.0349733

 

The Great Gatsby.0351879

 

The Great Gatsby.0351959

 

The Great Gatsby.0355258

 

The Great Gatsby.0354165

 

The Great Gatsby.0365024

 

The Great Gatsby.0367479

 

The Great Gatsby.0370632

 

The Great Gatsby.0435389

 

The Great Gatsby.0436257

 

The Great Gatsby.0437037

 

The Great Gatsby.0448255

 

The Great Gatsby.0520499

 

The Great Gatsby.0522657

 

The Great Gatsby.0525111

 

The Great Gatsby.0525278

 

The Great Gatsby.0526152

 

The Great Gatsby.0526275

 

The Great Gatsby.0527282

 

The Great Gatsby.0531648

 

The Great Gatsby.0529756

 

The Great Gatsby.0537003

 

The Great Gatsby.0535084

 

The Great Gatsby.0539068

 

The Great Gatsby.0541615

 

The Great Gatsby.0543188

 

The Great Gatsby.0606074

 

The Great Gatsby.0608663

 

The Great Gatsby.0611470

 

The Great Gatsby.0611789

 

The Great Gatsby.0619046

 

The Great Gatsby.0618567

 

The Great Gatsby.0632488

 

The Great Gatsby.0621281

 

The Great Gatsby.0624100

 

The Great Gatsby.0625142

 

The Great Gatsby.0629033

 

The Great Gatsby.0630856

 

The Great Gatsby.0691503

 

The Great Gatsby.0693004

 

The Great Gatsby.0695090

 

The Great Gatsby.0698912


“Wasted on The Young” – Ben Lucas – 2010

Wasted On The Young

(2010)

Director - Ben Lucas

DOP - Dan Freene

Grading Platform - Baselight 4

Acquisition Format - Panavision Genesis

Projection Format - 35mm 2.35:1


Waveform Vs Histogram interpretation in Digital Cinema Cameras

Understanding how to read Histograms present on many new digital cinema cameras can be tricky and are easily misenterpreted.

For analysis, I will use the below still from the film Daybreakers as reference.

Ethan Hawke in "Daybreakers" (2010)

The following snapshots have been taken using DpxRead available on the Panavision website.

Immediately we can see that there is a massive difference in the way these two images are represented in each of the graphical/statistical graphs.

Histograms represent the volume/percentage of light levels exposed within a particular image. The resulting graph shows the distribution/intensity plot of those levels.

Histogram Exposure

The above image reference image  is quite ‘moody’. The histogram shows us this quite literally but surprisingly shows nothing of where the midtones sit. This is because Histograms work with percentages and Ratios of light. If for the most part an image is dark, say 60% of the overall area , then the rest of the histogram has to be interpreted with the remaining 40 percent of image area. For that reason the intensity represented by the histogram for the remaining light values is visually a lot lower than the Dark spike shown in our reference.

To better show the way a histogram graphs an images lightness values I have put the below gradient into the scopes.

Linear Grayscale Ramp

We can see that because there is an even amount of each light level within the gradient image the Histogram shows an even intensity/distribution of each ‘level’.

Video Waveforms on the other hand give us a lot more visual information with which to evaluate your exposure and contrast ratio. As well as showing us the distribution of light values the graph is also plotted across the horizontal plane of the image. With this additional ‘axis’ one can easily determine where within the frame a particular item sits in its digital exposure value. This makes it easy to find for example the exposure of someones skin tone in relation to the background subject matter.

Histograms are Cheap and Easy to display from a programmers POV but in my opinion are quite useless in representing photographic content and should not be used for indepth exposure analysis.

Adrian


“Subdivision” – Sue Brooks

Subdivision

(2009)

Directors - Sue Brooks

DOP: John Stokes

Grading Platform - Baselight 4

Format - 35mm 3 Perf (S2k Scan)


iRiS-LiveLut – Mac OSX – application update

An update on my OSX software ‘LiveLut’ which had some major coding breakthroughs over the last week.

Over the last few days I have successfully implemented the following features:

3DLut and color correction 25 fps ‘realtime’ previews to :

3dlut1

- Stills

movie

- Quicktime Movies

video

-and Live incoming Video. (excuse the dodgy iSight camera)

All on a Mac Book Pro.

It still needs a bit of love on the UI side of things although that should not take too long.

I also added a live data view showing the associations between Density, Code Values and Printer Lights from the ‘exposure’ based color changes.

And the ability to save reference stills. (some time in the future i’ll incorporate the ASC color data translation ;)

The initial release of the software will be a simple pared back version available for film-makers to reference when making Photochemical timing adjustments to Answer Prints. The second version will incorporate the Slope Offset and Power Color tools for reviewing Quicktimes with a 3Dlut applied. The third release of the software will enable on set previews of live images direct from the source. The out put can be tapped to an external DVI or HDMI enabled monitor. 

User 3DLuts can be made and loaded into the program.

Adrian


Photochemical Color Timing

 

Colormaster Color Analyzer for Photochemical Color Timing

Colormaster Color Analyzer for Photochemical Color Timing

 

When it come to the ‘dark arts’ photochemical color timing and film processing has to be up there in the TOP TEN. Understanding the film lab and its physical tolerances in achieving AIM Density is as critical as having your internal color management/LUT’s spot on. (you can have the most precise Print emulation LUT in the universe, but if you are unaware of your Film Labs characteristics you could still be in for a surprise. WYSIWYG should really be What You See Is Pretty Much What You Get in the perfect world. The colors and density may be great but both digital and Film projection technologies and their visual characteristics through different light sources in different cinemas are still very …… different. )

 

 Here is a link to a pdf file that shows the effect of printer light adjustments on a print.

Adrian Hauser