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Investigating Colour Discrepancy  problem in RAW Conversions and  Searching for Progressive Digital    Cinematography work...
Student animation projects
Student Projects Outcome• Didn’t import RAW files but converted to .tiff  16, .tiff, .tga or .jpeg• Didn’t utilize the col...
Corpse Bride, Tim Burton (2005)• Canon EOS-1D Mark II• 2K conform to film output through DI process• Import RAWs into a pr...
Preliminary Test• Shoot photos with Canon EOS 1000D & Nikon  D70• Imported the RAWs with:  – DCRAW (free RAW converter, C ...
Image Acquisition
CIE(Commission international deI’Eclariage) 1976 L*, u*, v* Diagram              Image courtesy of wikipedia.org
CIE LUV & Colour Space
Image Acquisition and ‘Bayer Filter’            Bayer Filter (an algorithm called ‘Colour Filter Array’)            Image ...
Camera’s Sensor unit & Processor• Canon – DIGIC; DIGIC II; DIGIC III; DIGIC 4; DIGIC  5; DIGIC 5+• Nikon – Expeed; Expeed ...
DSLR Camera Framework
Digital Cinematography• Full digital workflow• Process image data with Imaging Science approach  and output them back to f...
Digital Intermediate (DI)                            Image courtesy of                                   apple.com
Second Test MethodTable top setup in the Studio shooting. Weonly display results from following cameras:-•Canon 5D mark II...
The 4 lighting conditions
•   Fig. 11 – Normal lighting•   Fig. 12 – Red lighting•   Fig. 13 – Green lighting•   Fig. 14 – Blue lighting
• Fig. 15 – Red lighting• Fig. 16 – Green lighting• Fig. 17 – Blue lighting
Our experiments outcome• Nikon D700 performed better under red  lighting conditions• Canon 5D mark II favored blue colour ...
Other intermediate conversion formats?• R3D RAW (RED camera)• ARRI RAW•   DPX•   Adobe’s DNG (Digital Negative format)•   ...
• Adobe’s DNG CIE  Performance
HD-DI WorkflowHigh Definition and High Dynamic-Digital         Intermediate Workflow
HD-DI workflow for Stop Motion Animation
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HD-DI workflow for Stop Motion Animation

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Colour Discrepancy problem in RAW conversions

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HD-DI workflow for Stop Motion Animation

  1. 1. Investigating Colour Discrepancy problem in RAW Conversions and Searching for Progressive Digital Cinematography workflow for Stop Motion Animation ann leungschool of design, the hong kong polytechnic university
  2. 2. Student animation projects
  3. 3. Student Projects Outcome• Didn’t import RAW files but converted to .tiff 16, .tiff, .tga or .jpeg• Didn’t utilize the colour gamut & wrong colour space• Image artifacts: pixelation and posterized effects
  4. 4. Corpse Bride, Tim Burton (2005)• Canon EOS-1D Mark II• 2K conform to film output through DI process• Import RAWs into a proprietary software, then output to Cineon log space (in order to bake the Eastman EXR 100T 5248 film stock look) *Cineon digital film system refers to the film scanning and recording h/w designed by Kodak and they introduced Cineon (.cin) file format in 1997• Transforms to 2K DPX sequence * DPX stands for Digital Picture Exchange, a file format designed to preserve film negative data while obtained from digital film scanner.
  5. 5. Preliminary Test• Shoot photos with Canon EOS 1000D & Nikon D70• Imported the RAWs with: – DCRAW (free RAW converter, C language program) – Canon’s DPP and Nikon’s CaptureNX2 – Adobe PS CS4’s CamRAW• Compared their Colour space profiles using the CIELUV 1976 diagram
  6. 6. Image Acquisition
  7. 7. CIE(Commission international deI’Eclariage) 1976 L*, u*, v* Diagram Image courtesy of wikipedia.org
  8. 8. CIE LUV & Colour Space
  9. 9. Image Acquisition and ‘Bayer Filter’ Bayer Filter (an algorithm called ‘Colour Filter Array’) Image courtesy of wikipedia.org
  10. 10. Camera’s Sensor unit & Processor• Canon – DIGIC; DIGIC II; DIGIC III; DIGIC 4; DIGIC 5; DIGIC 5+• Nikon – Expeed; Expeed 2; Expeed C2; Expeed 3• Sony Alpha – BIONZ• RED ONE – MYSTERIUM-X Nikon D90’s Sensor Unit Nikon D90’s Processor Image courtesy of Nikon’s website
  11. 11. DSLR Camera Framework
  12. 12. Digital Cinematography• Full digital workflow• Process image data with Imaging Science approach and output them back to film afterwards• Being well accepted after the movie Slumdog Millionaire (2008) which own the academy award for Best Cinematography
  13. 13. Digital Intermediate (DI) Image courtesy of apple.com
  14. 14. Second Test MethodTable top setup in the Studio shooting. Weonly display results from following cameras:-•Canon 5D mark II•Nikon D700
  15. 15. The 4 lighting conditions
  16. 16. • Fig. 11 – Normal lighting• Fig. 12 – Red lighting• Fig. 13 – Green lighting• Fig. 14 – Blue lighting
  17. 17. • Fig. 15 – Red lighting• Fig. 16 – Green lighting• Fig. 17 – Blue lighting
  18. 18. Our experiments outcome• Nikon D700 performed better under red lighting conditions• Canon 5D mark II favored blue colour tone environments• Different brands of camera exhibited different behaviors on colour visualization• Animators are advised to carefully select their camera beforehand as well as the conversion method
  19. 19. Other intermediate conversion formats?• R3D RAW (RED camera)• ARRI RAW• DPX• Adobe’s DNG (Digital Negative format)• OpenEXR/HDR (www.openexr.com)• CineForm RAW (www.cineform.com)
  20. 20. • Adobe’s DNG CIE Performance
  21. 21. HD-DI WorkflowHigh Definition and High Dynamic-Digital Intermediate Workflow

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