Color Correction. FilmLight. Colorsystem. Michael Cinquin, étalonneur, monteur image et son : démonstrations d'étalonnage. Stunning Good Looks by Art Adams. For a couple of weeks I've been researching the mystery of Sony S-Log, and log curves in general, trying to determine what they are, what they do, and whether they are a good thing or not.
After interviewing three different people (George Palmer of HDPix, Michael Bravin of BandPro and especially Steve Shaw of Digital Praxis) I finally had a sartori. I get it now. It's really cool. And it's surprisingly simple. Light Illusion - Digital Film, Digital Intermediate, Digital Cinematography. Charles Poynton. OpenEXR. The International Colorist Academy. The Art of Digital Color. Color management and color workflows have evolved over many years. in this article we will trace from Cineon to Scene Referred Linear OpenEXR format.
Cineon is such a backbone of the industry but it is now over 18 years old and perhaps it is time we moved to a more robust, flexible and accurate system. We need to know where we are in color science terms to allow visual effects pipelines to perfectly match the live action with CGI. If you can’t replicate the colorspace of the film’s images, how can you generate CGI images and composite them seamlessly into those images?
How can you have CGI shots interact with live actions shots if you can’t generate the same imagery ‘look’ in the computer since you don’t know how or where the live action footage is in colorspace? Listen to Mike talk to Joshua Pines from Technicolor in his capacity as a member of the Academy.