In a year when the digital intermediate process is making enormous inroads in Hollywood and the postproduction industry as a whole is transitioning from videocentric to datacentric workflows, color grading software and corresponding workflows were top of mind for many attendees at the recent Hollywood Post Alliance (HPA) Technology Retreat in Palm Springs.
Color correction workflow was not just a draw during the conference portion of the event, but was also notable in the demo area, a large portion of which was devoted to a series of developing color correction software and workflow systems.
Here, many of the newer color correction and workflow systems were on display, with their makers looking to get some important preview time with potential customers before the National Association of Broadcasters (NAB) convention in April, where many companies are expected to plan and/or make purchasing decisions.
Providence, R.I.-headquartered Mathematical Technologies Inc. (MTI) generated a buzz with a presentation and demo of its new Control Dailies, a software-based system that serves as the backbone of the dailies process, handling tasks such as managing timecode, collecting metadata, organizing material, archiving and outputting tape (SHOOT, 1/28, p.1). The goal of this developing system is to facilitate the transition from a videocentric to datacentric work environment, as well as the collection and management of metadata.
While MTI’s system is for use with a third party color corrector, many other developing software systems on display at HPA aimed to combine varying levels of color correction and project management features.
In general, companies aiming to build a new workflow require multi-resolution capabilities that are scalable and can accommodate multiple projects, explained Andy Johnston, head of sales and marketing at UK-based Filmlight, which exhibited its Baselight color correction and finishing software and Truelight color management system.
Miami-based startup Assimilate emphasized its goal of building a datacentric, resolution independent and real time workflow while exhibiting its Scratch version 1.0 color correction/management software. Additional demonstrations in this space included those from UK-based Nucoda, which showed its Film Master 2.5, which offers conforming and color correction capabilities; and Iridas in Richmond Hill, Ontario, which introduced its SpeedGrade family of color correction tools and metadata pipeline.
UK-based Edifis, which recently started to market itself in the U.S. under the leadership of new U.S. president Pete Challinger, staged full demos of its Finaliser color correction and formatting system. Edifis technical director Phil Hill suggested that post houses separate the technical tasks involved in the workflow of color correction to a separate suite in order to give a colorist more time to be creative in the color correction room. This message was echoed by Filmlight and others.
Attendees seemed serious about making a transition to this sort of workflow. For instance, R!OT Santa Monica managing director Michael Taylor was on hand, and reported, “Part of my mandate is to dip our toes in the water of nonlinear color correction this year.” He explained that with R!OT already working in data on visual effects, it makes sense to move the color correction to the data realm to create a more fluent and efficient workflow.
That strategy also reflects what’s going on in feature film digital intermediate (DI) work, where visual effects supervisors are now beginning to sit in on digital color timing sessions and work more closely with the DI colorists.