Historically speaking, the digital environment made possible not only increasing the speed of work and the profit due to the level of attractiveness / performances / quality of end products – films, media content, games, yet it also made possible new working methods and it especially generated ways of expressions which are more and more creative based on flexible technical support. Thus, the limits are no longer imposed by the technical support, but also by the creativity of the artists, which can be partially quantified and stimulated through equipment from the other laboratories of this project. The film specialists and the media content creators are fully dependent on the digital technical support. If during the historical evolution the analogue tradition would generate hierarchies, the omnipresent digital technology creates networks.
The color correction is an essential area of the post-production of audiovisual content. The harmony of colors – the color can be very emotional and expressive – certain color combinations, as well as sounds, seem to have a special beauty and to produce an instinctive inherent pleasure for the spectator, in ways that we perceive instinctively.
The infrastructure developed by the Laboratory for Creative Digital Techniques for Film is tightly related to that of the Laboratory for Digital Interaction Sound – Light. Due to the technical agreement issues between the sensor of the camera, the quality of light and the video camera, the filmed material can have chromatic differences which can lead to color differences between the same elements, the most severe one being the fact that, the main character, in its capacity as the most important element of the film, can have color variations of the skin during the action without any artistic justification, and only as a result of technical carelessness, lack of attention of the technical team and due to the failure to make the necessary corrections during filming which are most often limited to the complexity of big sets, illuminated with mixed lighting, i.e. color temperatures which are impossible to be brought to the same value, either 3200°, or 5600° Kelvin. The Laboratory for coloring is the infrastructure that permits the elimination of defaults of certain objectives, and these are sometimes consequences of human errors, whose correction through re-filming might be impossible or might have severe financial and artistic consequences.
Within the laboratory there are two technological lines, the coloring one and the video editing one composed of: coloring units, Magma extension boxes, LTO storage, monitors dedicated to coloring, two coloring consoles: one dedicated to coloring at a 4K film standard with video-projector and one for standard TV, as well as other elements which are necessary for coloring and digital post-production, like: fixed and mobile data storage units, DCP player, monitors for measuring the signal. The laboratory will be endowed with 7 graphic stations dedicated to video editing, equipped with specific software.
The technological editing line and the coloring one use a joint storage unit with a 140 TB unit, essential for the big transfer of data specific to the 4K resolution, the voice data network of the center which can have a transfer speed of 10 GB for 6 graphic units, thus making possible for the material to be processed in real time in the central storage unit.
The Laboratory for Creative Digital Techniques for film has a surface of 350 square meters and it is located on the third floor of the CINETic building, having a main coloring room, a secondary one and several montage rooms.