SMPTE Motion Imaging Journal ( Volume: 131, Issue: 10, 2022)
[ACTIVE]
Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows
Metadata
- Publisher
- SMPTE — White Plains, NY, USA
- Doc Type
- Journal Article
- Content Type
- Original Research
- Abbreviated Title
- SMPTE Mot. Imag. J
- Volume
- 131, No. 10, pp. 38–44
- Abstract
- Virtual production using light-emitting diode (LED) wall display technology is gaining popularity in the entertainment industry to produce motion pictures, episodic television, live broadcast, and esports content. This new paradigm typically uses one or more large LED displays that contain millions of individual LEDs that are used to display a virtual background and/or foreground objects from a virtual scene that is simultaneously captured by the digital photographic camera on set, resulting in the so-called “in-camera visual effects.” In a virtual production workflow, digital cameras capture the actors and objects on the set in the foreground while simultaneously capturing the image shown on the LED wall behind the actors. Realtime video game rendering engines update the image shown on the LED wall to compensate for changes in camera location, camera pose, and lens focal length. Modern digital camera workflows typically include color transforms that were not designed to accurately render the large areas of saturated colors that are possible when capturing the image shown on an LED wall. Some examples of a hue shift that can occur in typical workflows are blue to cyan, red to pink, red to orange, and green to yellow. We found that these hue shifts can occur dynamically while racking focus to and from the LED wall and also statically when the LED wall is kept out of focus, which is a common technique that is used to minimize moiré artifacts. This article explores a simple modification of these common color transforms to preserve the hue of the scene while also creating a similar look to the existing color transforms.
- Publication Date
- 2022-11-01
- DOI
10.5594/JMI.2022.3208274- ISSN
- Print:
1545-0279| Electronic:2160-2492 - Link
- https://doi.org/10.5594/JMI.2022.3208274
- Author(s)
- Michael D. Smith
bio
Michael D. Smith has worked as a digital imaging and intellectual property consultant for 20 years. He has worked on projects for many organizations including Warner Bros., Sony Pictures Entertainment, DCI, NOAA, Dolby, and DTS. He was coeditor of the High-Throughput JPEG 2000 image compression standard that was published in 2019. In 2018, he received a screen credit for his color science work on Mary Poppins Returns. From 2013 to 2015, he was the co-chair of Blu-ray Disc Association’s UHD-TF Video Subgroup that defined the video-related requirements for the ultrahigh-definition Blu-ray disk format. In 2012, his work on Warner Bros. Digital End to End (DETE) system led to winning a Technical Emmy. In addition to novel technology achievements, he has done extensive work in intellectual property. His work on more than 40 IP matters related to infringement and validity of patents has resulted in settlements and judgments of approximately $1.7 billion. He was the editor of the book 3D Cinema and Television Technology: The First 100 Years published by SMPTE in 2011 and achieved SMPTE Fellow in 2019. He received the BS and MS degrees in electrical engineering from the University of California at Los Angeles, Los Angeles, CA, in 2001 and 2004, respectively.Michael Zinkbio
Michael Zink is the vice president of emerging and creative technologies at Warner Bros. Discovery (WBD), where he is responsible for exploring emerging technologies to enhance WBD’s storytelling capabilities across different platforms. This includes assessing the latest technologies, developing innovative experiences, and integrating new solutions into creative production workflows. Zink also participates in several industry associations; serves as the president and chairman for the UHD Alliance and Education Vice President for SMPTE. Before joining Warner Bros., in 2014, he worked at Technicolor for more than ten years, most recently as the vice president of technology strategy, where he was responsible for launching the production efforts around various new distribution formats, and adoption of Technicolor technology solutions within industry groups. Earlier in his career, he worked for several media production facilities in Germany. - Keyword(s)
- Color Transform, Hue Shift, Hue-preserving, LED Wall, LUT, Rendering, Virtual Production
- Copyright
- © 2022 SMPTE
Bibliographic Reference(s)
- Core Color Rendering Algorithms for High Dynamic Range Display [Active]
- R. Lupton et al., “Preparing Red-Green-Blue Images from CCD Data,” Publications Astron. Soc. Pacific, 116(816):133–137, Feb. 2004, doi: 10.1086/382245. EXTERNAL
- “restore_hue_dw3() function—on lines 26-84 of file /v0.7.1/transforms/ctl/utilities/transforms-common.ctl,” ACES 0.71. Accessed: Aug. 19, 2022. [Online]. Available: https://github.com/ampas/aces-dev/blob/v0.7.1/transforms/ctl/utilities/transforms-common.ctl EXTERNAL
- SMPTE RDD 31:2014 [Active]
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Michael D. Smith and Michael Zink; Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows, SMPTE Motion Imaging Journal ( Volume: 131, Issue: 10, 2022); SMPTE, 2022. Available at https://doi.org/10.5594/JMI.2022.3208274
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Michael D. Smith and Michael Zink; Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows, SMPTE Motion Imaging Journal ( Volume: 131, Issue: 10, 2022); SMPTE, 2022. Available at https://doi.org/10.5594/JMI.2022.3208274
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Michael D. Smith and Michael Zink; Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows, SMPTE Motion Imaging Journal ( Volume: 131, Issue: 10, 2022); SMPTE, 2022. Available at https://doi.org/10.5594/JMI.2022.3208274
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<span class="citation">Michael D. Smith and Michael Zink; <cite>Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows</cite>, SMPTE Motion Imaging Journal ( Volume: 131, Issue: 10, 2022); SMPTE, 2022. Available at <a href="https://doi.org/10.5594/JMI.2022.3208274" target="_blank" rel="noopener">https://doi.org/10.5594/JMI.2022.3208274</a></span>
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Michael D. Smith and Michael Zink; Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows, SMPTE Motion Imaging Journal ( Volume: 131, Issue: 10, 2022); SMPTE, 2022
doi: 10.5594/JMI.2022.3208274
url: https://doi.org/10.5594/JMI.2022.3208274
doi: 10.5594/JMI.2022.3208274
url: https://doi.org/10.5594/JMI.2022.3208274
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<li> Michael D. Smith and Michael Zink; <cite id="bib-10-5594-jmi-2022-3208274">Hue-Preserving Color Transforms for LED Wall Virtual Production Workflows</cite>, SMPTE Motion Imaging Journal ( Volume: 131, Issue: 10, 2022); SMPTE, 2022 <span class="doi">10.5594/JMI.2022.3208274</span> </li>