EXTRA! EXTRA! 2010 Academy Awards Season: Connections (#1)

Actress Jessica Biel, pictured here, hosted the Academy of Motion Picture Arts and Sciences' Scientific and Technical Achievement

Occasionally I will post a Blog that is newsworthy and needs to be posted immediately.  This is one such occasion.  Yesterday, January 7, 2010, an Academy of Motion Picture Arts and Sciences’ Certificate for Technical Achievement was given to a business associate, Mark Jaszberenyi, for his contribution to the development of the Lustre color correction system, which enables real-time digital manipulation of motion picture imagery during the digital intermediate process.

I worked with Mark over the Internet color timing a theatrical motion picture at his facility Color Front, which he owns with his brother Aaron, in Budapest, Hungry. The 35mm negative had to be shipped  there  to be scanned and color timed as part of the DI process. I began the project with trepidation, but in spite of the great distance between our two countries, there were no mistakes or technical problems, and I was completely satisfied with the final color timing.

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2 thoughts on “EXTRA! EXTRA! 2010 Academy Awards Season: Connections (#1)

  1. We’ve worked together often and I think your blog is cool, as all things you do are, however on our most recent project I invented, and have received Awards for it, a color timing technique called: COLORIQUEtm, and I just want to make sure that in no way is the ‘Lustre’ technique in ANY WAY similar to mine, as our project pre-dates the one mentioned in your Blog. Good luck on this Blog. Best Maria

    • Thanks for the kind words! For the record, I will present a brief history, with an acknowledge to Wikipedia, of what is commonly referred to as color timing. In 1984 Da Vinci Systems introduced their first color corrector, a computer-controlled interface that would manipulate the color voltages on the Rank Cintel MkIII systems. Since then, technology has improved to give extraordinary power to the digital colorist. Today there are many companies making color correction control interfaces including Da Vinci Systems, Pandora-Int. Pogle, and more. Hardware-based systems (da Vinci 2K, Pandora, etc.) have historically offered better performance and a smaller feature set than software-based systems (i.e. Apple’s Color (previously Silicon Color Final Touch), ASSIMILATE SCRATCH, IRIDAS SpeedGrade, etc.). While hardware-based systems always offer real-time performance, software-based systems need to render as the complexity of the color grading increases. On the other hand, software-based systems tend to have more features such as spline-based windows/masks and advanced motion tracking. The line between hardware and software is blurring as many software-based color correctors (e.g. Mistika, SCRATCH, Flame, Discreet Lustre, Digital Vision Film Master and Filmlight Baselight) use multi processor workstations and a GPU (graphics processing unit) as a means of hardware acceleration. As well, some newer software-based systems use specialized hardware to improve performance (e.g. Da Vinci Resolve). Some color grading software like Synthetic Aperture’s Color Finesse runs solely as a software based and will even run on low-end computer systems. Lustre is a high-performance graphical processing unit (GPU)-accelerated digital intermediate color grading solution for film and television projects with improved interoperability between Lustre and Flame, Inferno and Smoke. COLORIQUEtm is a user based technique that can be applied to any of these software based systems.

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