With the increasing use of capable high-end digital cameras, the ability to manipulate data as soon as possible looks to yield great benefits in speeding production as well as ensuring delivery of the directors vision. UK-based FilmLight made a move in this increasingly competitive space–Arri, da Vinci, and LaserPacific are just a few of the companies working on products and proposed solutions–with the introduction of Truelight On-Set at the show.

The company has made a name for itself as one as the leaders in color management technology in post. On-Set takes that capability to the earlier stages of a production, enabling the director and DP to set a look during the shoot that will serve as the foundation for color correction in post.

Calibration is key to pulling this off. After all if your digital cameras, monitors, and recording devices don’t agree and replicate color in the same way, you’ll spend a lot of time in post just trying to figure out what it is you’ve got. Truelight On-Set integrates calibrated profiles of cameras and displays with color correction in ASC-CDL standard format (American Society of Cinematographers Color Decision List). This means that any color decisions made on-set can be transferred to other ASC-CDL compliant devices used in postproduction. Corrections applied on the set are made in real-time to a 4:4:4 HD-SDI or DVI signal.

FilmLight makes a point of describing Truelight On-Set as “very user friendly”– while most directors and cinematographers are tech savvy, they don’t want to go through any technical training or complexities when they’re working on a production. The product releases later this year. There is more info at www.filmlight.ltd.uk.