[Tig] DI workflow, capabilities and requirements

Christopher Noellert cnoellert
Sun Mar 27 20:55:13 BST 2005

On 3/27/05 10:10 AM, "Steve Shaw" <digital.praxis at virgin.net> wrote:

> Thanks to Pete Challinger of Edifis for supporting the TIG.
> --
> Hi Greg,
> I like Kodak's TCS box for LUT use if using a system that doesn't have it's
> own LUT display capability.
> Obviously as I use Quantel's iQ most of the time I use that with Kodak's KDM
> LUT generation capability. This is great for a proper screening/DI
> environment. For more temp screening setup. the TSC box is again my choice.
> However, the FilmLight TrueLight box could be just as good. You just need
> some way of generating accurate LUTs.

I would arguably say that the TCS calibration end is one half of the
equation which the truelight box doesn't handle.  That's to say that
Filmlight's calibration software would assume that the tk in question would
have been lined up correctly for each use... Repeatability being the key

The other side of the tcs would be the lut application which is far superior
in the truelight box.  Specifically because you can tailor up the lut around
what your workflow is, not what Rockchester idealizes the workflow to be.

I guess my point here is that with the Truelight box you're in a
significantly higher level of calibration than by just using the TCS alone.
> For dailies being screened from digibeta, or similar, the LUT is usually
> burnt in as part of the transfer process, providing the accurate dailies
> view as requested by the likes of Geoff Boyle.

At least the digibeta that the offline is done with.  Since we're talking a
realtime process through video routers and converters and all kinds of crazy
stuff there's nothing to say that you can't get the DoP a clean copy without
luts if he wants it.
> One of the very interesting things is that often clients (DoPs mainly) say
> they like to see the raw LOG transfer (no LUT) as they can immediately see
> the latitude they have captured, as well as raw colour balance, which helps
> them understand how they are capturing. Obviously not ideal for the
> production crew and offline, but its very interesting to see a DoP when
> faced with the real image he/she has just captured blind on film.

Previous applies
> And as for NAS discs, I simply go with any good supplier that can provide
> good bandwidth, fast pc and reliability. As most standard IT suppliers
> provide this to banks, insurance companies, etc, there is no shortage of
> options. What I don't do is but from media (TV/film) supply
> companies/manufacturers as they charge a serious premium, and for nearline
> NAS what they offer isn't required. The last supplier used was some small
> company in south England, who had never supplied a media client before.

We use ERA.


Chris Noellert
Frithiof Film to Video. AB
Sturegatan 58 
114 36  Stockholm

Tel: +46 8 545 678 78
Fax: +46 8 545 678 79
Mob: +46 735 32 00 03
AIM: cmnoellert

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