[Tig] workflow on "trim passes"

Jeff and Jill Jones jeff-jones at att.net
Sat Nov 13 21:29:49 GMT 2010


I can't wait to see the DP's face when he see's that auto calibrated chip 
chart look applied to every shot and he's told no tweaking is necessary. 
But, hey. . . Keep the dream alive.

Jeff Jones



--------------------------------------------------
From: "David Bernstein" <d_bernstein2000 at yahoo.com>
Sent: Saturday, November 13, 2010 12:03 PM
To: <sean at screentimeimages.com>; "Rob Lingelbach" <rob at colorist.org>
Cc: <tig at colorist.org>
Subject: Re: [Tig] workflow on "trim passes"

> Sohonet http://www.sohonet.co.uk sponsors the TIG.
> Digital Vision is patron of the TIG.
> Thanks to Christian Cortez for his work on the TIG wiki.
> ====
>
> Sean,
>
> While the technology you describe has a certain 'wow' factor to be sure, 
> can you
> explain why we as colorists should be excited about it? As someone who is 
> trying
> to make a living remastering classic content it seems to me that by 
> automating
> the process which I am called upon by the studios to perform on a regular 
> basis,
> you have eliminated much of my usefullness. With all due respect, was this 
> your
> intent, to put more colorists out of work? Or am I missing the point? 
> While I
> admit that matching reference masters can be a tedious and unrewarding 
> process,
> I like to think that I bring something to the table with my own skills and
> sensibilities, and hopefully the end result is an improvement over the 
> original,
> not just a carbon copy.
>
> Perhaps you could elaborate further on how Point.360 invisions the use of 
> this
> 'Visionsary" tool?
>
> Thanks,
>
> David Bernstein
> Colorist
> Restorer and Remasterer of Classic Content
>
> ----- Original Message ----
>> From: "sean at screentimeimages.com" <sean at screentimeimages.com>
>> To: Rob Lingelbach <rob at colorist.org>
>> Cc: tig at colorist.org
>> Sent: Fri, November 12, 2010 4:39:25 PM
>> Subject: Re: [Tig] workflow on "trim passes"
>>
>> Sohonet http://www.sohonet.co.uk sponsors the TIG.
>> Digital Vision is patron of the TIG.
>> Thanks to Christian Cortez for his work on the TIG wiki.
>> ====
>>
>> At Point.360, I have led the development on exactly such automated 
>> algorithms.
>>We issued a press release last month. The tool is part of our in house 
>>suite of
>>tools under the name 'Visionary', and it's simply called Color Match. We 
>>are
>>currently doing tests with some of the major studios. Among other things, 
>>here's
>>what it can do:
>>
>> Match color on any clip to a reference clip. This is ideal for conforming
>>online edits to color done offline, taking classic content and rescanning 
>>the
>>neg and matching to existing reference versions, matching left eye to 
>>right eye
>>on stereoscopic 3D material, etc. The reference can be any color space, 
>>any
>>resolution, different framing, etc.
>>
>> If you shoot color charts on location, we can apply a digitally created 
>> chart,
>>overlay it on top of the shot chart, and auto calibrate the image.
>>
>> If you shoot for instance, the same scene in tungsten and daylight, we 
>> can
>>apply the look of one to another.
>>
>> We have developed a 'perceptually uniform' color space, that allows us to
>>easily move within and from one to another color space. A benefit of this 
>>is
>>something many of you are familiar with: If you try to increase 
>>saturation,
>>you'll find that you are changing hues of certain colors, forcing you to 
>>make
>>additional adjustments to counter this. Our technology maintains proper 
>>colors.
>>
>> Unlike some matching technology, we are doing way more than simply 
>> analyzing
>>and matching RGB histograms. We're incorporating optical flow, pixel level
>>motion vector analysis and estimation, object segmentation and 
>>recognition, and
>>some other tricks, based on alien technology :O)
>>
>> A side effect of this is that we can automatically match pan & scans from 
>> the
>>color reference material (good for remastering classic content).
>>
>> Interesting enough, Rob L (TIG moderator) and Dolby are taking an office 
>> in our
>>building, so I'll be seeing a lot of Rob. Next week I'll be sure to show 
>>him
>>first hand, and he can report back with an unbiased opinion. In fact, Rob, 
>>if
>>you want to be in our theater Monday at 10am, we are giving a demo of all 
>>this
>>then to management from our other Point.360 facilities around town.
>>
>> Feel free to contact me directly with questions.
>>
>> Thanks,
>>
>> Sean McKee
>> Director
>> Restoration & New Technology
>> Point.360 Digital Film Labs (formerly IVC)
>> 2777 Ontario Street
>> Burbank, CA 91504
>> 818-569-4949
>>
>> Quoting Rob Lingelbach <rob at colorist.org>:
>>
>> > Sohonet http://www.sohonet.co.uk sponsors the TIG.
>> > Digital Vision is patron of the TIG.
>> > Thanks to Christian Cortez for his work on the TIG wiki.
>> > ====
>> >
>> >
>> > On Nov 12, 2010, at 9:53 AM, Doug Delaney wrote:
>> >
>> >>  But in my experience I've not had a
>> >> log P3/film final come across to 709/C as a color master without a 
>> >> trim and
>> >> accurately reflect the original look and feel of the film.
>> >
>> > Do you think that trim could be done algorithmically, or are the 
>> > various
>>variables and considerations too complex to be done without significant 
>>colorist
>>attention?
>> >
>> > Rob  TIG admin, colorist
>> > --
>> > Rob Lingelbach
>> > rob at colorist.org    http://rob.colorist.org
>> >
>> >
>> >
>> >
>> > _______________________________________________
>> > http://reels.colorist.org
>> > http://tig.colorist.org/wiki3
>>
>>
>>
>>
>> _______________________________________________
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>> http://tig.colorist.org/wiki3
>
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