[Tig] Universal Color Metadata challenge

Jeff Olm jeff.olm at gmail.com
Wed Sep 5 08:03:35 BST 2007


Joe said
 "guess this is a little bit along the lines of a field grading
system that 'passes along' a suggested correction to dailies, etc"

Joe you run software CC systems? Which one.

Tig'gers

Stu I agree.
If the production can work it out having A colorist being involved during
the shot and vfx post process is the best way to go. The shepherding of the
image for the DP and the Director throughout the process save surprises at
the end.

 I've done mostly Scratch on-set and DI.
And many Lustre DI gigs.
And even a Baselight gig.

But Iridas has a great onset tool.
But you will have to hunt a bit for a post house in LA.


But my mentor Price Pethel runs Iridas SG DI and driven some of the below
concepts
I have always been impressed  by the concepts of Iridas and SI-2K camera.
Color preview on viewfinder and monitor
CC metadata that can travel with a raw image. In a usable
and intelligent fashion
A playback tool that plays the CC and can generate CC downrez's and Qt's.

As far as non-destructive. And now a 2k data camera the potential is great
to pass ideas down the post production line and still maintain raw data.

Metadata will really be the key to raw with CC traveling together!

I'm just a freelancer that runs everything.
Jeff Olm
LA, CA

http://www.siliconimaging.com/DigitalCinema/SI_2K_key_features.html
I

The SI-2K captures full resolution, DCI-compliant 2K and 1920 x 1080
progressive-scan 12-bit raw images for use in both digital cinema projection
and HD television or optical disk environments. It uses Silicon Imaging's
proprietary 48-bit digital processing algorithms to perform adaptive
pixel-by-pixel black calibration and color image enhancement.

With IRIDAS's color management technology integrated into SI-2K system, any
possible look in the creative mind of the cinematographer can be lensed with
the camera. Furthermore looks are embedded right into the recorded AVI or
Quicktime file, meaning there is no need to re-create looks created on-set
again in post. With an extensive array of primary and secondary color
correction control, Iridas' Speedgrade On-set allows the cinematographer to
create their own unique non-destructive "virtual looks" that can be
instantly loaded into the camera and utilized. No longer are
cinematographers limited to the colorimetry of the camera, or the
translation process from on-set to the DI suite. For the first time, the
full metadata-managed pipeline of the SI-2K with Iridas color-management
technology allows the D.P.'s vision to extend uninhibited from on-set to the
cinema screen.



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