Solving the Calibration Process
There are solutions. In fact, a dizzying number of solutions, all of them slightly or greatly different. To sum up:
- Kodak Display Manager is a software application
- designed to emulate the photochemical process of Kodak print film. Says
- Kodak's Commercialization Manager, Hybrid Origination Products, Carlo
- Hume: "We calibrate and characterize a number of displays. In the case
- of computer monitors, we can automatically adjust the red, green and
- blue controls using a colorimeter or what some people call a puck, that
- senses luminance and color."
- FilmLight Truelight is a mix of service and software.
- The service kicks in during a test phase when FilmLight sends Cineon
- files on CD to the end-user who then records them out to negative,
- strikes a print and sends that back to FilmLight. The exercise is to
- guarantee fidelity at three points: between the data and the negative,
- the negative and the print, and the print and display. Using a probe
- that characterizes monitors, displays, and projectors, FilmLight comes
- up with a mathematical model and creates a customized 3D LUT for the
- user.
- Rising Sun Research offers CineSpace to create a
- perceptual match among all the facility's displays. "Secondly, we take
- those calibrated displays and try to emulate what the final film will
- look like," says VP of Sales Jeremy Pollard. Though CineSpace includes
- a set of film profiles, users doing color grading are encouraged to run
- a custom profile. Send in test frames recorded to film and Rising Sun
- turns around the custom profile in 24 to 48 hours. Earlier this month,
- Rising Sun Research debuted CineSpace OnSet, designed to integrate
- directly with IRIDAS' SpeedGrade OnSet look development
- application. RSR's Onset profiles the displays of laptaps or standalone
- machines and preserves color characteristics through to any operation
- using CineSpace 2.1.
- Arri Color Management System (CMS) converts the image
- prior to recording with the Arrilaser, so that the film in projection
- matches the look of the monitor. A software option for the Arrilaser,
- CMS adjusts the image data while recording, matching colors that were
- seen on the HD monitor during grading.
- Grass Valley LUTher Color Space Converter with 3D LUT Designer Software
- is a high-resolution 3D look-up table that enables calibrated
- previsualization of a film print on a HD display or digital projection
- system. 3D LUT Designer Software allows the user to create 3D LUTs from
- 1D LUTs, or by comparing a reference image with an image that's gone
- through the complete processing chain. The system also allows the user
- to combine different 3D LUTs into one for different display devices.
- ECinema Systems debuted the DCM23, a flat screen TFT
- LCD monitor at IBC this fall. Founder/CEO Martin Euredijian guarantees
- 'identical color viewing' from one DCM23 to another, whether between
- two color suites in a facility or in remote locations.” Film stocks can
- be emulated on the monitor using a 1D look-up table. (For more on the
- DCM23, see
www.hdstudio.com .)
Everyone agrees that competition is good. In the world of Digital
Intermediates, matching what you see to what you get is even better.
Intermediates, matching what you see to what you get is even better.
Sections: Technology
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