Onset Viewing・Grading

Sharing the final image begins at the moment of recording. LOG recording is of interest for cinematographers who are particular about creating exceptionally high quality images, because LOG recording ensures that all available color information is preserved. LOG recording has long been a standard method of image capture in Hollywood and LOG compatible cameras are sold both in and outside of Japan. Although LOG recording's specialized use is in recording wide dynamic range effectively; it is not ideal for checking the images on-ser. Responding to the demand of cinematographers to view the nearly finished image, IS-mini was developed. The IS-mini is a small 10 centimeter rectangular device. It is an image processing system that converts image signals input based on color conversion tables (1D/3DLUT) and outputs the optimum color onto the on-set monitor. IS-mini converts the image signals from many types of cameras and reproduces colors that are closely identical to the finished images.

What makes such wide dynamic range possible with LOG recording? The major differences between film recording and digital recording are resolution, definition, and dynamic range. These elements that are clearly lacking with video cameras have dramatically changed along with the advancement of digital cameras. A subject recorded and color graded in LOG will have a wide dynamic range. This enables the user to reproduce details appropriately where conventional video gamma will

Image comparison demonstrating the use of LOG recording 's wide dynamic range

Checking and viewing the LOG image on-set in real-time

The IS-mini gives you the ability to preview your images with LUT information applied in real-time, on-set. By importing a color conversion table that is made for digital cinema cameras, you will be able to see a very accurate preview of the final recorded/final delivery image on your on-set monitor that will display, very accurately to the image that will be processed later for final delivery.
With the IS-mini, you can also adjust color balance, intensity, and brightness with a PC (Win/Mac) to help you create detailed Looks on-set.

Precise viewing from various camera types and monitors.

With our own technology, FUJIFILM has developed an IDT (Input device Transform) color management function, which enables you to equalize the image color tone recorded from various cameras regardless of the make and models.
Furthermore, the IS-mini Manager provides LUTs that are compatible with each make and model's major recording modes.
When used as a single device, it is possible to create a monitor calibration in the software and view the camera images on calibrated devices
For multi-camera use, it is possible to make color adjustments independently for each camera. and to calibrate correspondingly to any production company's particular or custom configuration of cameras and monitors.

Highly accurate monitor calibration

Use of the monitor calibration function, enables the user to view highly accurate color reproduction by correcting the errors that occur among various kinds of media monitors (such as on-board camera monitors, video display monitors, and final grading digital cinema projectors).
This is accomplished by importing the monitor's measured values into a PC with a connected IS-mini, which then creates a color conversion table for the video output device and monitor.
Any color conversion table used and generated with IS-100 and applied to a connected IS-mini can be brought to a post facility and connected to a monitor used in post-production. This is just another way a film director can reproduce the same look that was envisioned on-set and ensure the efficiency of their work.
Lastly, the adjusted Look created on-set can be output to the DaVinci Resolve .cube file format.
Sample results from two typical monitors. Note the higher quality possible by using the monitor's "native" color space.

Maker: TVLogic

Model: LQM-171W

Setting: N/A

Measuring device: PR-655
Maker: TVLogic

Model: XVM-175W

Setting: Color space: Native
Gamma: 2.4
White point: D65

Measuring device: PR-655

Film Look:ETERNA500
Rendering:FujiPrint
Film Look:ETERNA500
Rendering:AMPAS RRT WGR5.2
Film Look:F-64D
Rendering:AMPAS RRT WGR5.2

The Film Look simulation function

This function reproduces 15 different types of negative film color tones including the FUJIFILM ETERNA series on your digitally recorded images, The "IS-mini Manager" also provides LUTs corresponding to each manufacturer's cameras.
Combined with all the available camera profiles in IS-mini Manager (30 types of cameras), it is possible to use more than 20,000 combinations of LUTs!

※"IS-mini Manager" IS-Lut setting screen
＜Some of the motion picture negative films that can be reproduced
with our Film Look simulation function＞

Export function

This function enables the output (export) of the LUT (color conversion information) that was created on-set for the cinematographer's or directors vision and send it to a grading suite, editorial or VFX software package.

The on-set graded LUT data generated with IS-mini is exported out of "IS-mini manager" as LUTs for DaVinci Resolve.

※It is also possible to output the LUT file to other manufacturer's grading software packages besides for DaVinci Resolve.

※ Color correction screen of "IS-mini"