Powerpoint for Post Production World 2007 posted

Hey Jason,

Thanks for sharing that. Informative stuff.

Couple questions:

What do you mean by "one-light pass" when talking about RAW conversion apps?

You use the Quicktime API as the example of codec-level support. Yet in other posts... I forget the details... but you talked of the limitations of working with quicktime, and how the most seamless workflow is achieved in Premiere (wrapped in an avi?). Could you explain more precisely how the workflow differs from platform to platform? (I generally work both in Premiere, and FCP).

You refer to the use of the LUTs for: "gamut mapping for target color-spaces like film-prints, etc." I'm surprised that sort of thing hasn't gotten more attention. It's so frustrating to be using half-fixes for going to different mediums. These days just about everything that I work on is intended (at least in part) for computer display on both Mac and PC, as well as DVD or some HD format. It's beyond frustrating not to have elegant workflows in place to accomodate a project with a myriad of destinations.

-Kevin
 
Thanks for downloading and reading!

A "one-light" means just like you would have in a telecine with "one-light" . . . you grade for a very conservative, more accurate pass rather than something very stylized and contrasty that won't be reversable later on in post (since you won't have access to the RAW file once it's in a non-RAW format like DPX unless you do a second match-back pass).

Quicktime and DirectShow are used interchangably, and I'm just using the better known of the two, especially since many of the audience members were FCP people. The limitations of QT compared to AVI were a past issue when CineForm RAW (and now Redcode RAW) were not available as QT codecs. Now I'm talking in the power-point about a more universal situation where QT and AVI are on an equal footing, which is where we're heading. So it won't matter if you have QT or AVI files, the capabilities of the codec and the API structure to manage the RAW data information and render it dynamically for the host file will be the same or similar.

With CineForm RAW's ability to use 3D LUT's as a metadata source for the RAW data information, and render that color information, there are unlimited possibilities for color management as well as creative effects. You can create a 3D LUT that maps a creative effect into a specific target profile, for instance, to tranform your footage into resembling the final film print or another target source. This is the same thing that printers have been doing for years taking RGB source data and mapping it through ICC profiles (a 3D LUT is inside the ICC printer profile) to CMYK targets. In the same way you can use a 3D LUT to map your RGB image data to what the film print would be (an alternate color space). Since the LUT is non-destructive, you are also able to-do multiple mappings and color-space target simulations . . . you don't have to bake these color transforms into the source data which would be a very destructive process.

Think of it as file-level color management . . . an exclusive feature to CineForm RAW.
 
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