All Things Color for Film and Digital Cinema
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Posts Tagged ‘Red Camera’

ColorShare – Usage


ColorShare for Android



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 .


    • 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


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

The Great Gatsby – 3D

The Great Gatsby


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


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“Needle” – John Soto



Director - John Soto

DOP - Steve Windon ACS

Grading Platform - Baselight 4

Format - RED

Before Grade

After Grade

Before Grade

After Grade

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Before Grade

After Grade

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.


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.


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.


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.


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