All Things Color for Film and Digital Cinema
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Posts Tagged ‘digital intermediate’

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


3D Theatrical Projection Problems with Floating Windows – Keystoning

As noted in a prior post on “Floating Windows” there is somewhat of a problem with the theatrical screening of 3D whereby cinema screens cannot for various reasons project a full screen DCI compliant image without physical image masking. Below I outline some possible solutions to this problem.

The main problem with both the theatrical presentation of 2D and 3D Feature Films is the tendancy for a cinema to be designed where the projection device is situated at the rear upper level of the auditorium. This old model of cinema design requires that the image be projected downwards over the distance of the auditorium to the screen. The physics of this basic model there for assume that the image will be somewhat keystoned by the time it reached the screen. To then counter the effect of a trapeziod shaped projection image on the screen one would then employ cinema black masking and essentially over shoot the image into the blacks until a nice pleasing rectangle is created.

For this very reason a ‘projection safe’ or ‘action safe’ model is employed by 2D image creators whereby, just like television, images were made to be displayed with a 5% ‘masking’ tolerance. Some screens may see the full image and most would see somewhere between that and roughly 5% – 10% in.

You can see now that if in a 3D presentation you are employing the use of ‘floating windows’ to counter 3D edge violations or simply play with the 3D screen dynamics these will more than likely be lost. Unfortunately as these windowing techniques are employed to assist with the audiences comfort factor when viewing 3D materials their exclusion from the presentation will make the experience slightly more uncomfortable.

Lets look at the below screen setup.

  • Screen Width – 30 Ft Screen
  • Screen Resolution – 2048
  • Auditorium Depth / Projector Throw- 100 Ft
  • Tilt of Projector – 10 Degrees

Given the above scenario, without masking, our image is now 30 foot across on the top of the image and 29 foot along the bottom. 28/30 = 93%

Top Width = 68″9′

Bottom Width = 76″1′

Keystone % = 100 * (top width-botom width)/top width = %9

9% of 2048 = 184 pixels.

Generally FLoating Windows will not be more than the max Positive Disparity which ona 30ft screen would not be more than 28 pixels Either side.

Well…with the calculations above we just lost our floating windows.

Bugger!


DCI P3 White Point and color primaries – Measurement Reference – 6300k

Projecting a set of white and color primary  test images from your DCP player or software/Hardware solution should give the following readings when properly projected through a calibrated system and measured with an accurate  color meter.

Measuring and calibrating a projectors DCI white point should not only be performed with the projectors internal test patches. I personally argue to test calibration with both the projectors internal test patterns as well as external test patterns because depending on the image interface to the projector from the DCP player or SDI hardware output, experience tells me some of these interfaces/modules can and do add additional adjustments to the color gamut and levels.

Luminance 14 Ft Lamberts

Gamma: 2.6

White:  x 0.314   y 0.351

Red:      x 0.680   y 0.320

Green:  x 0.265   y 0.690

Blue:     x 0.150  y 0.060

 

 


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

 

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Happy Feet Two – 3D

Happy Feet Two

2011

Director: George Miller

Studio: Warner Brothers

Senior Digital Intermediate Colorist : Adrian Hauser

Graded Stills from the Teaser Trailer


“Needle” – John Soto

Needle

(2010)

Director - John Soto

DOP - Steve Windon ACS

Grading Platform - Baselight 4

Format - RED

Before Grade

After Grade

Before Grade

After Grade

Before Grade

Before Grade

After Grade



“Beneath Hill 60″ – Jeremy Sims

Beneath Hill 60

(2010)

Director - Jeremy Sims

DOP: Toby Oliver

Grading Platform - Baselight 4

Format - 35mm 3 Perf (S2k Scan)


“Subdivision” – Sue Brooks

Subdivision

(2009)

Directors - Sue Brooks

DOP: John Stokes

Grading Platform - Baselight 4

Format - 35mm 3 Perf (S2k Scan)


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


Resize methods – shooting Red 3K for Post.

Over the weekend the were a few posts on the CML forums regarding shooting Red with non standard 3K files for post.  (Film standard being 2k or 4k).

My theory was that 3k is a non standard production/deliverable format and hence would at some stage have to be resized to fit standard deliverable Specs such as 2k or 4k film or HD for Video. In terms of downressing a 3k image digital filters must be applied to the pixels so an interpretation can be made of surrounding pixels to determine what pixel value is written. 

With this test I have taken a 2k reference image (I dont have any 3k reference files at hand) and performed a similar 1.5 scale reduction (emulating 3k to 2k) using different resize algorythms to see what the result would be like. I have chosen standard ‘out of the box’ filters available in most DI tools. Most of these filters inherently end up with artifacts that must be tested on the pictures at hand to see what filter best suits the production. The artifacts to look out for are Aliasing, blurring and Edge ‘Halo’ and jagged diagonals.

Unfortunately I dont have a Sinc filter at hand that is considered to be the best Downressing filter as it keeps small details without the ‘ringing’. I will add this to the data as I get a chance to go into work.

See Below. Click on each thumbnail to see the 100% cropped rendering of the transformation.

Here is a composite image of the comparison Data. 

Of particular note is the lack of all methods to efficiently interpret any of the ’40 lines’. In all cases this data, as ‘resolution’ is lost. You can also see interesting effects at each of the other resolution interpretations.  

 

3k to 2k resize comparison 

3k to 2k resize comparison

The basic conclusion looks like youd be better off shooting 2k but I will wait until I try the Sinc Filter. Upressing methods would probably give better results but then why not shoot 4k? 

Adrian Hauser


Density and the Film Lab – Density Pt.4

 

Lab Aim Density / China Girl

Lab Aim Density / China Girl

 

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.

See the post on China Girls for a look at some of the older examples of these majestic images.


Log encoding for the Cineon/DPX file format – Density Pt.3

cineon_logo

  As outlined in the original Kodak Reference Pages for the Cineon file format standard,   the Cineon or DPX file format is the world standard digital imaging format for digital motion picture images. Any DPX or Cineon frame can be opened by any film vendors’ hardware and be displayed in the correct format with the correct gamma encoding. (unlike formats such as quicktime!).

The Cineon file essentially is a digital replica of a motion picture negative (a digital negative). It is imaged and encoded such that it retains all the color and exposure information expressed in the negative and as such is encoded in a logarithmic manner. 

The Cineon format was primarily designed for Digital VFX and Animation artists to be able to work on film acquired sequences that could, when finished, be written back to film and intercut seamlessly with camera original negative. With the boost in enhanced graphics processors, the ever increasing capacity and speed of hard drives and some clever Code Boffins, entire films can now be digitally enhanced in the realm of the Digital Intermediate.

Film has traditionally been represented by a characteristic curve which plots density vs. log exposure. This is a log/log representation. In defining the calibration for the Cineon digital film system, Eastman Kodak Co. talked to many experts in the film industry to determine the best data metric to use for digitizing film. The consensus was to use the familiar density metric and to store the film as logarithmic data.” Kodak Reference.

Adrian.


Protected: From neg to print via digits – DI – the round trip

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