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TelecineWith the advent of television, broadcasters quickly realized the limitations of live broadcasts and they turned to utilizing film transferred to video to broadcast already produced movies as well as photographing new shows that could then be aired at different times in different time zones. The heart of the system was the Kinescope, the device on which a film image was transferred to video.[1]
Today, telecine is synonymous with color timing as tools and technologies have advanced to make color timing (color correction) ubiqutious in a video environment. How telecine coloring worksIn a CRT system, an electron beam is projected at a phosphor-coated envelope, producing a beam of light the size of a single pixel. This beam is then scanned across a film frame from left to right, capturing the "vertical" frame information. Horizontal scanning of the frame is then accomplished as the film moves past the CRT's beam. Once this photon beam passes through the film frame, it encounters a series of dichroic mirrors which separate the image into its primary red, green and blue components. From there, each individual beam is then reflected on to a photomultiplier tube (PMT), where the photons are converted into an electronic signal to be recorded to tape. Early color correction on Rank Cintel MkIII telecine systems was accomplished by varying the primary gain voltages on each of the three photomultiplier tubes to vary the output of red, green and blue, respectively. Further advancements converted much of the color-processing equipment from analog to digital and then, with the next-generation telecine, the Ursa, the coloring process was completely digital in 4:2:2 color space. The Ursa Gold brought about full 4:4:4 color space.[2]
Some of the main functions of electronic (digital) color grading:[1]
Note that some of these functions are contrary to others! For example, color grading is often done to ensure that the recorded colors match those of the set design. In music videos however, the goal may instead be to establish a stylized look. Traditionally, color grading was done towards technical goals. Features like secondary color correction was originally used to establish color continuity. The trend today is increasingly moving towards creative goals- improving the aesthetics of an image, establishing stylized looks, and setting the mood of a scene through color. Because of this trend, some colorists suggest the phrase "color enhancement" over "color correction". Primary and secondary color correctionPrimary color correction affects the whole image utilizing control over intensities of red, green, blue, gamma (mid tones), shadows (blacks) and highlights (whites). Secondary correction brings about alterations in luminance, saturation and hue in six colors (red, green, blue, cyan, magenta, yellow). The main objective of secondary controls is to adjust values within a narrow range while having a minimum effect on the remainder of the color spectrum.[1] Using digital grading, objects and color ranges within the scene can be isolated with precision and adjusted. Color tints can be manipulated and visual treatments pushed to extremes not physically possible with laboratory processing. Special digital filters and effects can also be applied to the images. Power WindowsThe evolution of digital color correction tools advanced to the point where the colorist could use geomteric shapes to isolate color adjustments to specific areas of an image. Called Power Windows by da Vinci Systems, these tools can highlight a wall in the background and color only that wall — leaving the rest of the frame alone — or color everything but that wall. Subsequent color correctors (typically software-based) have the ability to use spline-based shapes for even greater control over isolating color adjustments. Inside and outside of area-based isolations, digital filtration can be applied to soften, sharpen or mimic the effects of traditional glass photographic filters in nearly infinite degrees. Motion TrackingWhen trying to isolate a color adjustment on a moving subject, the colorist traditionally would have needed to manually move the mask to follow the subject. In its most simple form, motion tracking automates this time-consuming process using algorithms to evaluate the motion of a group of pixels. These techniques are generally derived from match moving techniques used in special effects and compositing work. Motion tracking can be combined with other techniques to add light to a subject's eyes or achieve the final look wanted for a scene, this not only saves time on the set (and money) but, when done in close collaboration with the cinematographer, allows greater flexibility in adjusting the overall feeling of the scene. DIThe evolution of the telecine device into film scanner allowed the digital information gathered from a film negative to be of sufficient resolution to re-export back to film. In the late 90s, films like Pleasantville and then O Brother, Where Art Thou? pushed the technology to create the digital intermediate, which allowed all of the power of the telecine colorist in a traditional film world. Today, many 'A' list feature films go through the DI process. Traditional photochemical processing is happening less and less. In Hollywood, O Brother, Where Art Thou? was the first film to be wholly digitally graded. The negative was scanned in with a Spirit Datacine at 2K resolution and then colors were digitally fine-tuned using a Pandora MegaDef color corrector. The process took several weeks. The resulting digital master was output to film again with a Kodak laser recorder to create a master internegative. Hardware-based versus software-based systemsHardware-based systems (da Vinci 2K, Pandora, etc.) have historically offered better performance and a smaller feature set than software-based systems (i.e. Discreet Lustre, Silicon Color Final Touch, Iridas Speedgrade, etc.). While hardware-based systems always offer real-time performance, software-based systems need to render as the complexity of the color grading increases. On the other hand, software-based systems tend to have more features such as spline-based windows/masks and advanced motion tracking. The line between hardware and software is blurring as many software-based color correctors (e.g. Digital Vision Film Master and Filmlight Baselight) use multi processor workstation's and a GPU (graphics processing unit) as a means of hardware acceleration. As well, some newer software-based systems use specialized hardware to improve performance (e.g. da Vinci Resolve). References
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