Technicolor’s high quality, on-location color correction toolset brings a new level of creative control to cinematographers and directors during principal photography and helps streamline post production. By making it possible to create looks in real time, during production, DP’s can adjust for lighting and story subtleties while capturing the full range of the camera image. Because the system is fully compliant with the ASC CDL (Color Decision List), looks established on location flow downstream to any Technicolor facility for color corrected dailies. What’s more, the ASC CDL is carried through editorial to final color correction.
Productions intended for film distribution can integrate Technicolor’s film print emulation as part of the DP Lights™ system workflow. It is also possible to record a color corrected feed during digital capture to formats such as XDCAM or HDCAM SR, for immediate playback and chaptered review.
DP Lights™ can serve as the core of a simple, straightforward digital rear-screen projection system: rear screen and reflection plates are played back from a digital source on set, routed through DP Lights™ for real-time color balancing and then sent to calibrated digital cinema projectors. This approach has been used successfully by productions such as Georgia Rule, Superbad, Get Smart, Fired Up, I Love You Beth Cooper and Edge of Darkness.
Technicolor has formed a strategic strategic alliance with Canon USA, Inc. to leverage Technicolor’s color-science in the development of a suite of creative tools to facilitate greater usability and integration of Canon EOS DSLR cameras into the motion picture and television production pipeline. The new suite of creative tools will be with Technicolor’s CineStyle, that coupled with Technicolor’s Digital Printer Lights™, will provide a more seamless pipeline, from principal photography into editorial, for projects filmed using Canon EOS DSLR cameras. For more information on CineStyle and how to download a free copy, please go to:
