Los Angeles, Calif. - LaserPacific Media Corporation has unveiled a color-calibrated workflow system designed to ensure the integrity and consistency of filmmakers' creative intent from production through presentation on cinema screens.
LaserPacific's accurate Image (aIM) system is a seamless postproduction process that calibrates, connects, and integrates all devices used for displaying images in various digital formats. It is utilized on set and for dailies, previews, the digital intermediate, and distribution. The system is designed to emulate a project's look created by cinematographers in collaboration with their directors throughout every step of postproduction. The aIM process also applies any color decisions or changes made during the early stages of the project to subsequent steps in the workflow.
The aIM system addresses the need for consistent viewing of film- or digitally-originated images throughout the workflow. It accurately matches designed looks on a project to the film and digital cinema release, as well as home video distribution.
Kennel notes that aIM was developed in response to requests and suggestions made by cinematographers and other filmmakers. The process incorporates proprietary Kodak color science coupled with innovative LaserPacific technology. It also supports the Color Decision List (CDL) developed by the American Society of Cinematographer's Technology Committee, which allows color decisions made on set to transfer easier and more accurately to the next level, and all the way through to color correction and final release.
The cinematographer documents a range of set ups during production with digital stills, which he or she manipulates with a personal computer to fine tune looks. The telecine colorist uses the cinematographer's still images as a roadmap for creating digital dailies. An aIM DailiesPlayer is used to view dailies with an aIM digital projector. All devices used during the process are calibrated. The images are encrypted for security and a proprietary look up table (LUT) automatically adjusts the projected images to mimic film projection. The cinematographer can make adjustments in color balance using standard printer light controls which mimic film timing. His or her changes are exported to a CDL that is integrated into the workflow and used as the starting point for digital previews and DI timing.