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- POST PRODUCTION COLOR MACHINE ROOM UPDATE
- POST PRODUCTION COLOR MACHINE ROOM SOFTWARE
- POST PRODUCTION COLOR MACHINE ROOM OFFLINE
Careful planning on the other hand can cost less, take less time and still look better. In other words poor planning will cost an almost infinite amount and still take an eternity to achieve mediocre results.
POST PRODUCTION COLOR MACHINE ROOM SOFTWARE
*including planned use of a high-end software grading solution It is even sadder because the old equation needs modifying for the modern software facility: Quality = Planning* This is a shame since color enhancement offers great production value. If there is no time and no budget, it is not hard to figure out the quality.
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There is an old equation: Quality = Budget x Time However, instead of a carefully planned DI grade, many productions only remember color enhancement as an after thought. There are also some facilities that do maximize the benefits of software grading. There are a few cases where production companies have invested in their own grading system, hired a colorist and then spent six months to a year working on a project.
POST PRODUCTION COLOR MACHINE ROOM UPDATE
Sometimes sitting in front of my grading system, with the latest software update and faster graphics card, I feel like I am sitting in a Bugatti Veyron on a motorway with road works, average speed cameras and a 30 mph speed limit. Why has such an obvious improvement in technology not been matched by an equally significant advance in the art of color grading? By comparison the impact on color grading has been less dramatic. The new tools and features available in software systems today surpass both the most optimistic wish list of 10 years ago, and our expectations of five years ago. In “Software Color Correction” I outlined the benefits of moving from hardware grading systems to software systems and discussed the advantages it would bring to colorists. Holograms, which do reveal spatial details, are not yet used in the motion picture industry! True 3D would mean that a change of position would reveal more information, allowing the viewer to see behind objects. The use of two images adds just one of many clues to depth perception. The glasses use colored filters (anaglyph), polarized filters or synchronized shutters to separate a pair of images. Viewing nearly always requires glasses to separate the left and right eye images.
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S3D stands for Stereoscopic 3D, meaning digital cinema formats that use a combination of two images to create left and right eye parallax and the illusion of depth. More modern versions in AAF or XML formats define multi track timelines and a range of sophisticated effects. The most basic CMX EDL is a simple list of edits for a single video track. The data interpretation more accurately fits both film and tapeless workflows.ĮDL stands for Edit Decision List. However, for the purpose of grading workflows, I prefer to interpret DI as Data Intermediate. It is a big time saver!” said Yoshiro Kamei, Sony PCL colorist.DI stands for Digital Intermediate and refers to the digital master from which a film intermediate is recorded. Resolve also lets us access those files directly so I don’t have to import them to start grading. Resolve supports a broad range of those formats, so we can meet an expansive range of demands. “These days, many clients bring materials in various file formats.
POST PRODUCTION COLOR MACHINE ROOM OFFLINE
“And Resolve’s XML support has made it easier to handle offline data from our clients.” “With Resolve, we can offer high end grading for an affordable price by reducing the cost of installing a grading system,” said Kiyoshi Kogami, digital production division, visual solution department. Both systems are connected to SAN and also local SAS RAIDs to allow conforms to be performed in the machine room with grading done in the separate grading suite. Each Resolve suite is used in conjunction with a CUBIX Expander to provide a powerful 2GPU system. In September, Sony PCL installed a DaVinci Resolve in the company’s grading room for advanced grading, conforming and rendering, while also installing Resolve Software into their main machine room to handle additional color correction needs. Sony PCL chose DaVinci Resolve to support its complete portfolio of services, many of which now include 3D and 4K imagery. The company also provides planning, promotion and digital content creation for a variety of live events. Sony PCL handles the planning, production and postproduction of visual content, and authoring and packaging to DVD or Blu-Ray for some of the largest films, commercials and music videos in Japan. Sony PCL, founded in 1951, is one of largest video production companies in Japan. DaVinci Resolve Blackmagic Design announced that Sony PCL, Inc., one of Japan’s top video production companies, has installed multiple DaVinci Resolve nonlinear color correction systems.