Reference images from the camera are imported into IRIDAS Speedgrade OnSet, a powerful, full-featured color-correction program with multiple stages of color-correction for the highlights, midtones, and shadows, along with the option of up to six separate secondary correctors. After the "look" that the D.P. or director deems is appropriate for the scene is created in Speedgrade OnSet, a .look file is exported from Speedgrade containing a comprehensive 3D LUT describing the color-corrections made. This LUT is then imported back into the camera system where not only a WYSIWYG preview of the "look" is created live using the SI-2K's powerful GPU host processing system, but metadata for the .look file is applied to all subsequently recorded AVI's or Quicktime files on disk. With the "look" now embedded in the recorded AVI or Quicktime file, the editor can now edit with the color-correction in-context, rather than having to set-up a pre-arranged series of viewing environments, and be forced to edit with footage that does not reflect the creative desires of the D.P. or director. IRIDAS .look files are completely non-destructive metadata, so files can be full color-corrected and treated losslessly in post, and the 32-bit floating point internal processing engine of the CineForm RAW codec ensures that the complete dynamic range of the RAW data is available for creative manipulation at all times.

Working with IRIDAS Speedgrade™ .look files, CineForm RAW™, and the SI-2K camera system is a simple 4-step process.

In the first stage, the D.P. and director will set-up a scene and light it accordingly.

Once the scene is lit, the D.P. will save a DPX image from the camera and import it into Speedgrade OnSet. Once inside the Speedgrade Interface, he or she can design and mold the image to fit their creative vision for the scene. Alternatively, pre-recorded images could be used to create looks ahead of the shoot or for the creation of "virtual looks " that the D.P. wishes to default the appearance of the camera to. This alternative approach would reduce the amount of time spent on-set in color-correction.

Mouse-over the images in the Look Browser at the bottom of the interface to visualize different looks.

Once work in Speegrade OnSet is complete, the .look file is re-imported into the SI-2K camera interface for complete WYSIWYG integration and control. Alternately, separate view and record LUT's can be utilized for diagnostic or alternative visualizations, such as creating the characteristics of the final print using on-set monitoring resources. Up to three .look files can be pre-loaded for in-flight operation and easy LUT comparisons and preview. Below is an example of two different .look files applied to the in-camera interface from the .look file browser in the Speedgrade interface above.

During the recording process, metadata pointers are embedded in the recorded AVI or Quicktimes, connecting them with their associated .look files. When the recorded files are opening in the editing suite, the full color-information is available and embedded with the file, removing the barrier between the D.P.'s vision on-set and the post-production suite. Fully color-corrected dailies can also be created without the added time and expense of overnight telecine. Further down the line, rough-cuts can be viewed with the vision of the D.P. intact. Throughout the post-production chain, the D.P.'s vision remains intact, and should any color-correction be needed, the metadata-based approach of the IRIDAS color-management system allows for complete non-destructive editing of the RAW data, as well as the changing of the .look file associated with an AVI or Quicktime file should a complete re-visualization be necessary.