Providing a vital link between on-set shooting and post production, the Truelight On-Set allows cinematographers and directors to establish and maintain the “look” of their shows, color-correct on-set and share the corrections with the post team. It is the primary processing unit which applies color transforms to an SDI or DVI video signal. Control software runs on a laptop, communicating with the box via Ethernet. Truelight On-Set uses a color management engine that can take images from one medium —video, film, HD camera data and CGI— and generate matching images in another medium.

For monitoring while shooting, the Truelight On-Set box applies a color transform between the camera and monitors. Color grades —set in preproduction or on previous shoots— can be applied and then further adjusted at the time of shooting. The Truelight On-Set uses the American Society of Cinematographers Color Decision List (ASC CDL) standard color correction to make it compatible with a wide range of other devices.

During a review of dailies, color correction done by a colorist at a post-production house can be applied in the Truelight On-Set box. The creative team can make further adjustments and send the new settings back to post.

While this technology is primarily aimed at the digital world, the Truelight On-Set could be employed in conjunction with the ARRI HD Video Assist for film applications.