CineMontage

Q2 2021

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47 S U M M E R Q 2 I S S U E T E C H the Silicon Valley marketing machine which frequently plays into this vision. We anthropomorphize computers in a way where it feels like they're going to be making these decisions for us, and these visions capture our imagination because it's more exciting than thinking of it as simply a new class of algorithm. The re- ality is that a lot of these programs using machine learning actually open up new opportunities for the artist; they are just another tool in the toolbox. They are not a replacement for the operator. Ultimate- ly, they do need someone to drive them." C o l o u r l a b A i i s n ' t i n t e n d - e d t o a u t o m a t e t h e e n t i r e c o l o r correction/grading process. But it has the potential to significantly speed up some mundane-yet-necessary aspects, like se- lecting IDTs and camera matching. With Colourlab Ai's Camera Profile tool, that happens automatically when media is imported. "To me, the idea of separating out the parts of the process which are po- tentially automatable is really exciting. The more the tools can help push every- thing else out of the way, the greater our ability to focus on creative choices — to do something that is pushing the film forward creatively," Jencks said. In regards to the Camera Profile tool, Babinec said, "The ability to have it basi- cally auto-detect the camera profile and put the transformation on it right away is super-huge, because if you're looking at 500 different clips and they all come from different sources, it's time-consuming to sort them out. This tool makes it a lot easier to work with files from different types of cameras. Even though the shots are from different cameras, Colourlab Ai will analyze them and do its best to figure out how to make that look consistent across those shots. It's still early on in the development but Dado (who is an award-winning colorist) knows what needs to happen. They're really making a great effort with this, but there are so many different cameras." Another new way to further refine the look in Colourlab Ai is the 'Frames of Interest' feature. In working with a particular clip, clicking the 'Frames of Interest' tab opens up a small window showing which shot in the clip is the darkest shot, the brightest shot, the best match to reference, the worst match to reference, and the frame the user ini- tially selected. Clicking through the five options, it's easy to see which one best So much color: A screenshot from Colourlab. P H O T O : C O L O U R L A B

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