Emulacija barvne palete in tonske krivulje filmskega negativa

Vintar, Tadej (avtor), Černec, Jure (mentor)

Magistrska naloga obravnava možnosti prenosa barvnih značilnosti filmskega negativa Kodak Vision3 250D na digitalno kamero ARRI Alexa z uporabo barvnih meritev in barvnih transformacij. Osrednji cilj naloge je ustvariti barvno transformacijo v obliki LUT-a (Look-Up Table), ki digitalni sliki estetsko približa barvni karakter filmskega negativa brez poseganja v obstoječ postprodukcijski proces. Metodološko jedro naloge temelji na snemanju standardizirane barvne karte X-Rite ColorChecker SG v identičnih kontroliranih svetlobnih pogojih z obema medijema. Iz pridobljenih posnetkov so bili z metodo vzorčenja izločeni barvni podatki posameznih polj barvne karte, ki so bili nato transformirani v skupen barvni referenčni prostor. Na podlagi primerjave med vrednostmi, izmerjenimi na digitalnem posnetku in posnetku filmskega negativa, je bila izdelana barvna transformacija, ki emulira barvni in svetlobni odziv filmskega negativa. Teoretični del naloge opisuje ključne koncepte, ki so nujni za razumevanje praktičnega dela – osnove delovanja barvnega filmskega negativa in proces njegovega razvijanja, principe digitalnega zajema slike in barvnih prostorov, vlogo barvnih transformacij v sodobnem postprodukcijskem procesu in pomen barvne karte kot merskega instrumenta. Poseben poudarek je namenjen razlikam med filmskim in digitalnim barvnim zapisom in omejitvam, ki jih te razlike prinašajo pri emulaciji. Rezultati kažejo, da je z opisanim pristopom mogoče ustvariti prepričljiv vizualni približek barvnega videza filmskega negativa, ki je estetsko relevanten za kinematografsko prakso. Hkrati analiza razkriva inherentne omejitve metode, ki izhajajo iz fizikalne neprimerljivosti obeh medijev. Naloga ne ponuja dokončne ali univerzalne rešitve za emulacijo filmskega negativa, temveč predstavlja dokumentiran in ponovljiv metodološki pristop, ki ga je mogoče nadgraditi ali prilagoditi za različne kombinacije kamer in filmskih materialov.

• Jezik: Slovenski jezik
• Ključne besede: Filmski negativ Emulacija Digitalna kamera Barvna znanost Stranske absorpcije nosilcev barve
• Vrsta gradiva: Magistrsko delo/naloga
• Organizacija: AGRFT - Akademija za gledališče, radio, film in televizijo
• Leto izida: 2026
• PID: 20.500.12556/RUL-188915
• Datum objave v RUL: 30.09.2026

Sekundarni jezik

• Jezik: Angleški jezik
• Naslov: Emulation of the Colour Palette and Tone Curve of a Film Negative

Izvleček

This master's thesis examines the possibility of transferring the colour characteristics of the Kodak Vision3 250D film negative to the ARRI Alexa digital cinema camera through colorimetric measurement and colour transformation. The central objective is to construct a colour transformation in the form of a LUT (Look-Up Table) that aesthetically approximates the colour character of the film negative in the digital image without interfering with the existing post-production workflow. The methodological core of the thesis is based on capturing the standardised X-Rite ColorChecker SG colour chart under identical controlled lighting conditions with both media. The colour data of the individual chart patches were extracted from the captured material by means of sampling and subsequently transformed into a common colour reference space. On the basis of the comparison between the values measured on the digital capture and on the film negative capture, a colour transformation was derived that approximates the colour and tonal response of the film negative. The theoretical part of the thesis elucidates the key concepts required to understand the practical work: the fundamentals of the colour film negative and its development process, the principles of digital image capture and colour spaces, the role of colour transformations in the contemporary post-production process, and the significance of the colour chart as a measuring instrument. Particular emphasis is placed on the differences between the film-based and digital colour records and on the limitations these differences impose on emulation. The results demonstrate that the described approach can produce a convincing visual approximation of the colour appearance of the film negative that is aesthetically relevant to cinematographic practice. At the same time, the analysis reveals the inherent limitations of the method, which stem from the physical incomparability of the two media. The thesis does not offer a definitive or universal solution for film-negative emulation, but rather presents a documented and reproducible methodological approach that can be extended or adapted to different combinations of cameras and film stocks.

• Ključne besede: Film negative Emulation Digital Camera Color Science Color Dye Crosstalk