Camera Cloud Color Matching

Hey everyone, I want to pose a theoretical future for features I’d love to see Blackmagic Design embrace with their cinema cameras, DaVinci Resolve, and Blackmagic Cloud. This is a way to get the most accurate camera matching accomplished on set.

Imagine bringing an iPad onto the shoot and connecting cameras wirelessly to the iPad via Blackmagic Cloud. Sync a short 5-second burst from each camera in Blackmagic RAW. Using the RAW settings, adjust temperature, tint, and ISO parameters with a CST to Rec709. Then export a sidecar file with those settings for each camera, syncing the adjustments to the Cloud and back into the cameras. This workflow enables in-camera parameter updates, streamlining the process.

For an HDR Rec2020 workflow, the same adjustments could be made within that color space if HDR monitoring is available on set. The focus is primarily on matching color temperature and tint across cameras. If ISO consistency between cameras is required, this workflow would also preserve the exposure difference while ensuring color matching.

On-set monitoring with a Resolve Micro Panel paired with an iPad could further simplify this process. Creating a LUT directly on set is feasible. Currently, an UltraStudio 4K Mini can power a laptop via USB-C, but adapting this setup for an iPad would require Apple to include Thunderbolt 4 (or newer) compatibility.

The UltraStudio Monitor 3G could be upgraded to an UltraStudio Monitor 12G with Thunderbolt 4 (or newer) and a power input. This would enable the device to power an iPad directly, eliminating the need for additional cabling. While a laptop remains the optimal device for this upgraded UltraStudio workflow, the iPad could serve as a minimalist alternative if Apple incorporates the Thunderbolt upgrades.

At times, when you’ve set the desired ISO per camera, exposure adjustments involving ISO changes—such as lowering ISO by one-third of a stop—could also transfer to the sidecar file. However, the main priority remains color matching via temperature and tint adjustments, enabling a single LUT to ensure perfect consistency between cameras.

The LUT could then be exported from Resolve via Cloud, syncing directly to the cameras. This approach ensures a scene LUT is generated on set and accompanies proxies in post-production. The LUT could live as a .cube file within a 3DLUT directory embedded in the proxy folder. All files would reference the proxy’s parent metadata, with BRAW files embedding the LUT within their metadata while the proxies carry it separately.

Another feature I’d love to see is the inclusion of UHD proxies across all Blackmagic cameras. With UHD becoming a more standard base resolution than HD, it’s time for proxies to reflect this shift. Today, UHD H.265 10-bit 4:2:2 proxies are as practical as HD H.264 8-bit 4:2:0 proxies were a decade ago. Offering this option natively would modernize proxy workflows.

This workflow not only simplifies the on-set process but also significantly improves collaboration. Directors, DPs, and colorists can ensure that every camera matches perfectly in terms of color and exposure before the first frame is even captured. Having the LUT travel seamlessly with the proxies ensures that the post-production team is working with the same color foundation established on set. This eliminates inconsistencies between cameras and ensures that creative decisions made on set are fully realized in the final grade. By empowering teams to address potential mismatches in real-time, the entire production process becomes more efficient, saving both time and resources.

Imagine the impact: a fully connected, minimal footprint setup where cameras sync effortlessly via Blackmagic Cloud, allowing for immediate LUT creation and proxy generation on set. By integrating these workflows, Blackmagic would not only simplify color matching and monitoring but also establish themselves as leaders in production technology.

In summary, integrating iPad and Cloud workflows into Blackmagic’s ecosystem could revolutionize on-set color matching and post-production efficiency. By embracing tools like UHD proxies, advanced LUT syncing, and streamlined hardware compatibility, Blackmagic could empower creators with a minimalist yet powerful workflow. These innovations would elevate collaboration, simplify camera setups, and solidify Blackmagic as a leader in production technology.

There are some interesting things I can’t quite talk about yet.

Tim, it doesn’t have to be 5 seconds. It could be the entire clip. Internet speeds allow for this to be near dealt time on set.

Imagine true camera to cloud. The media from camera becomes the backup because the OCM files in their entirety are in the cloud.

You’re already editing and grading in near real time.

JB

One thing I'll +1 on is getting a 12G SDI to Thunderbolt 4 (or 5) that actually works with the iPad Pro. This might require Apple to do their part as well. (oh, and do that for HDMI input as well.)

I'm afraid right now not even a UltraStudio Mini Monitor 3G will work with an iPad, only USB-C capture devices, which are made for game recording and not really precise.

There are some interesting things I can’t quite talk about yet.

Tim, it doesn’t have to be 5 seconds. It could be the entire clip. Internet speeds allow for this to be near dealt time on set.

Imagine true camera to cloud. The media from camera becomes the backup because the OCM files in their entirety are in the cloud.

You’re already editing and grading in near real time.

JB

I love a tease. Wow. If any of these ideas come to fruition always happy. Granted I have small faith in the internet companies providing the adequate Wi-Fi speeds for continuous BRAW files going over the Cloud. Even UHD H.265 takes its sweet time uploading. That's not a camera issue, but an internet provider issue.

But I do love the idea of being able to shoot with editors having instantaneous feedback for us. But I guess we also need all camera media to get a clean Stereo Mix from a mixer for audio.

And, I'm feeling audio needs to get into this Cloud workflow as well.

I'm afraid right now not even a UltraStudio Mini Monitor 3G will work with an iPad, only USB-C capture devices, which are made for game recording and not really precise.

Yeah, some of this really depends on Apple. But for the computers like laptops this is very achievable for HD 709 with the current UltraStudio Mini Monitor 3G. But for true mobile work if the UltraStudio Mini Monitor 12G happened that would be amazing!
Laptops are easy, and I usually have mine on set. So a lot of this still works with a laptop.