COLOUR SPECIAL
also emphasises that post-production software needs sophisticated colour handling to handle the variety of the job. Consider also Kodak’s recent release of the VERITA 200D motion picture film stock 5206, which brings yet more colour options in the same way different stocks and different LUTs always did. The reality, of course, is that colour has always been involved. The CIE 1931 diagram is five years short of its centenary, after all. It just took the flexibility of modern film and TV production equipment to make that part of an industry’s working reality. MAXIMUM CONSISTENCY The challenges aren’t new, and neither are potential solutions. Some of the earliest attempts to take the guesswork
out of colour are showing their age. Characterising the quality of white light, for example, is such an old issue that CRI – a sixties solution – has itself become mostly obsolete in film and TV applications. If we insist on a simple higher-is-better number, more recent initiatives such as TLCI are certainly more useful, and the spectral similarity index (SSI) allows us to accurately compare two light sources for similarity. Still, if anything embodies the tension between flexibility and consistency in the world of colour, it’s modern lighting control. The option to have any light be any colour at the tap of a phone screen is a time-saving, cost-saving revelation. The lost capability of having two lights from different manufacturers match at switch-on, conversely, is much
SPLASH OF COLOUR Aputure’s NOVA II LED panels (above) are a great example of modern lighting
with great SSI performance
32
DEFINITIONMAGAZINE.COM
Powered by FlippingBook