DIGITAL MELANIN CINEMATOGRAPHY (DMC) has been at the heart of our creative process over the years but we’ve officially established it in 2020 as an organization that will lead the way with regards to the introduction of new image making process techniques that focus on preserving and presenting melanin rich skin in digital cinema.
We offer a comprehensive service in that we design an image processing pipeline (IPP) that is conscious of the combination of tools that are being used for image capture such as the cameras sensors, lenses, light sources, art direction, wardrobe and make up. We take the filmmakers through a series of tests that allow us to capture and sample a variety of skin tones that will be in the production.
After this test phase we extract the data that the camera has captured from the tests and we feed that into our DI process (Digital Intermediate) where we run the data from the camera sensor through our ‘digital chemicals’ to which output a good base for the filmmakers to view their skin tones before creating the look or the identity of the film.
After this we generate LUTs (Look Up Tables) which will be transferred onto a LUT box that the cinematographer will use to preview his negative on set so that they expose within the confines of the data that came from the tests.
There can be no strong opposition to the fact that the use of cave walls serves as our first encounter with the art of self-expression using color to paint and communicate our environmental heritage...
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