Hybrid Production Environment

Abstract

Today's workflows require the use of various acquisition and data sources. In order to keep the acquired data formats compatible with traditional film acquisition, some major problems need to be addressed. First, when acquisition is done via digital camera and traditional film camera, the final cut between shots often shows dramatic differences in color, depth of field, and quality. Studies will be presented about digital camera shots (HD material), acquired with a functional model of a digital film style camera. Second, in post-production most facilities have to work with scanned material that comes from various sources (telecines, scanners). This often results in differences in colors and dynamic range. Technologies that can be used to compensate between different source materials will be discussed. Finally, colors are the most crucial element in a hybrid production chain. Preserving colors from acquisition, scanning, recording, and projection is one of the most sophisticated tasks during production. Color management will be considered as a throughput solution.