Vancouver to host 26th Colour and Imaging Conference next month

Vancouver, British Columbia has become an entertainment hotspot, attracting directors, actors and producers as a top set location for feature productions. With the science of colour playing a major role in the development of many types of video production, Vancouver is the ideal setting for the 26th Colour and Imaging Conference (CIC26), November 12–16, 2018. “When it comes to global tech hotspots, few can match the supersonic growth of Vancouver,” said Forbes Magazine. The province has been called “Hollywood North,” due to the number of blockbuster movies and TV shows that are filmed there. CIC is the premier annual technical gathering and conference for scientists, technologists and engineers working in the areas of colour science and systems, and their application to colour imaging. Playing a major role in video production, cinema and CGI, colour can enhance and/or create atmosphere in film, call attention to certain details, or add meaning by establishing a palette to a certain character. CIC26 has woven into its program this connection between colour imaging science and cinema. Some highlights include:

Anders Ballestad.

Keynote Presentation: High Dynamic Range on the Big Screen by Anders Ballestad, CEO and Co-Founder of MTT Innovation. High dynamic range (HDR) is slowly making its way to the big screen after firmly being established in the living room. For the cinema, there’s considerable excitement around high-contrast projectors as well as LED walls. Ballestad discusses the perceptual impact of drastically enhanced colour volume technologies, as well as a number of open questions around the creative workflow and the potential for new experiments in colour science.

Andrea Chlebak.

Special Evening Talk: “Color in Narrative” by Andrea Chlebak, Supervising Colourist for feature, documentary and commercial films – including Elysium, Chappie, The Twilight Saga: Eclipse, and the new film, Mandy, starring Nicolas Cage. Chlebak sheds light on the process of coming to a final look for a film. She’ll discuss her use of experimentation, intuition and perception as a ‘tool set’ to determine how blue, dark or saturated colours make an image, and how she collaborates with directors and cinematographers to enhance the narrative through colour.

Jérémie Gerhardt.

Workshop: “HDR and Movie Production” organized by Jérémie Gerhardt, IRYStec Software (Canada). Workshop speakers include: “VFX/Feature animation: HDR—What has and hasn’t changed” by Sean Copper (DoubleNegative); “HDR Post-production” by Chris Davies (VFX and Post-Production); “Image Display” by Timo Kunkel (Dolby Laboratories); and “Colour and HDR” by Dermot Shane (Colourist).

What are the implications for a movie’s production when it’s been decided that it will be an HDR movie? In this workshop, speakers representing key positions and/or professions from the movie production workflow, will introduce their activities – from colourist, VFX supervisor, colour pipeline, cinematographer, display engineer, etc. – in relation to HDR to help us understand how their practice is evolving with this technology.

The CIC program also emphasizes perception and the role that colour plays in applications such as mobile imaging, virtual reality, illumination and lighting, printing, material appearance, image processing and more. The science of colour is vital to many fields of imaging, especially as advances in today’s technologies move at a rapid pace. Dynamic keynote speakers at CIC26 will touch upon how colour has shaped some of those technological developments and will include:

A Brief Story of Superpixels by Radhakrishna Achanta, Swiss Data Science Center. The number of pixels in images is steadily rising. During his talk, Achanta will present superpixel segmentation algorithms to address efficient computation, memory consumption, use in computer vision programs and more.

Colour and Consumer Cameras: The Good, the Bad, the Ugly, by Michael Brown, York University. This keynote will focus on the current state of affairs for colour on commodity cameras, common incorrect assumptions made in the scientific literature regarding image colour, and recent developments that are helping to improve the situation.

The technical program is augmented by an extensive array of classes taught by colour science and imaging experts, including these three new classes:

• The Role of Colour Science in Smartphone Imaging for Brand Protection and Secure Applications

• Variational Colour Image Enhancement inspired by Human Vision

• Colour Fundamentals in LED Lighting

About the CIC. Founded in 1993 and sponsored by The Society for Imaging Science and Technology (IS&T), the CIC is the premier annual technical gathering for scientists, technologists and engineers working in the areas of colour science and systems, and their application to colour imaging. CIC26 is collocated with the CIE Division 8 Annual Meeting, Image Technology and the CIE TC8-16 Meeting.

About the IS&T. The Society for Imaging Science and Technology (IS&T) is an international, professional, non-profit organization dedicated to keeping members and other imaging professionals apprised of the latest developments in the field through conferences, educational programs, publications and its website. IS&T programs encompass all aspects of the imaging workflow, which moves from capture (sensors, cameras) through image processing (image quality, colour and materialization) to hard-copy and soft-copy output (still, motion, print, displays, image permanence) – and include aspects related to human vision and machine vision, such as object recognition, image quality, and colour. The Society also focuses on a wide range of image-related applications, including security, virtual reality, mobile imaging and data analysis.

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Tony Curcio is the editor of Graphic Arts Magazine.