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This paper considers the effect of technology on creativity, with specific regard to the advantages of software colour enhancement systems.
The Benefits of Software-Based Colour Correction
There is a clear interest in software colour enhancement both in dedicated systems and as a feature of editing, compositing and effects systems. There are many software-based facilities interested in software colour enhancement that would not consider a hardware solution.
However, as a professional colorist I must choose the right tools for the job. So what tools do we colorists want?
Definitions
By color correction I mean adjusting the color balance and contrast of an image to compensate for unwanted flaws or deficiencies in a capture or conversion process, so that the image more closely matches the original. Examples of flaws are overexposure, underexposure, or colorcasts, while deficiencies include limited dynamic range or change of color space. Both labs and telecine suites color correct images.
Color enhancement is a change to the image that does not necessarily reflect reality, but which is intended to add emphasis or meaning to the image. Enhancements may or may not be planned at the shooting stage. Enhancements are usually applied to elements within an image and therefore the implication is that it involves a colorist with a more sophisticated post-production color system.
Color creativity does not have an established industry definition, but I use it here to mean the use of color and contrast to define a look or style that is not necessarily related to the original image, but more to an abstract theme or message. The term therefore is wider in concept than color enhancement, and would include art direction and photography as well as direct color manipulation. In theory it should be a preconceived collaborative effort, but that is not always the case.
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We want a high quality, random access source on an open architecture system in a standard format. We want fast, easy access and real time playback and we want the Holy Grail – one master that can produce multiple formats and versions.
We need traditional tools for print and video, plus some new ones for dealing with both, all working in logarithmic and linear space, for film and video outputs. In addition we want some of the software features that have been developed for publishing, compositing and visual-effect systems.
The system should be intuitive to use, have unlimited layers and windows, and a flexible processing order. We want a system that can incorporate new tools from either the manufacturer or third parties, quickly and easily.
It should run on off-the-shelf hardware that is easy and cheap to upgrade, and which is compact enough to be used in a facility, at home or on location.
We need grades that track re-edits, and conform with transitions. Composites should include an alpha channel, and titles and graphics should be separate from the main content. The system must manage alternative grades and references. We expect an ergonomic interface and real-time interaction. I would not necessarily want my colorist system tied up conforming or recording different versions, but it should be able to when required.
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