Discreet Lustre V.2.5

Post, Oct, 2004 by Oscar Oboza

As digital intermediates continue to make inroads on the big screen, post production houses are exploring the possibilities of applying this fully digital, nonlinear workflow for their commercial clients. A main component in the DI process that facility owners are seriously considering is software-based color correction systems--such as Discreet's Lustre--because they can easily integrate with their existing digital editorial and visual effects workstations. Integration creates more artistic collaboration, which can potentially lead to more creative and more efficient work output.

Recently, I was invited by Discreet to a demonstration of Lustre V.2.5 (beta Version 3) with colorist David Cole. Cole is an independent colorist who has worked on such films as Lord of the Rings. For me, a colorist with experience in both commercials and longform work, the opportunity to demo with an artist of Cole's caliber was exciting and offered something you cannot experience at the typical tradeshow: an intensive, hands-on test drive.

Lustre was introduced at NAB 2003 by both Discreet and Hungary-based Colorfront, a highly innovative software development company with extensive experience in film post production. Lustre is a scene-based digital color grading system that provides a feature set for matching color across shots and for creating color-based effects on film and high-quality HD/SD video source material. Since this is exactly the client base of my company, Hi-Wire, the invitation to beta test the software seemed like a great match. So, with enthusiasm and a critical eye, I went to Los Angeles and met David at Discreet's Santa Monica office.

For those who crave details (which, given the fact that this is a product review, is most likely you), Lustre's Master Station Grading System includes: an IBM 6221 workstation; an IBM X 335 slave renderer; control surface; 8-bit and 10-bit HD/SD video I/O (stored as 10-bit RGB data); 4:4:4 HD/SD dual link video and HSDL film I/O; 2Gbit fiber card; Discreet Stone for SGI workstations; Stone IR 146-HR storage system; background rendering software system; and an HD I/O dual link 4:4:4 kit.

The control surface resembles that of a hardware-based system, with joyball, button and dial functionality that most colorists are used to seeing. My guide David easily navigated through specific applications using the mouse, such as creating freehand geometries (windows) with variable softness or dust removal.

The GUI display has the Discreet look, but I found that you did not need previous experience with other Discreet applications to grade scenes.

THE GOODS

The system features 12 selectives (secondaries) with the ability to use mulitiple geometries/shapes. You can use preset geometries (squares, circles or ovals), or draw shapes by hand. The ability to track and parent (link) those shapes, which have long been a part of other Discreet workstations, will allow colorists to be more imaginative when creating looks. Additionally, up to 16 shots can be displayed on screen for comparison. You can also link a group of shots for correction/repositioning at the same time. Primary color correction works in either logarithmic (printer lights) or linear (telecine) modes.

Applying sparks (plug-ins) to create special looks, such as silver, blur and noise for bleach bypass, grain reduction or defocus effects is another key feature of Lustre. Working on 2K files. I found that as a grade became more complex, you would see a drop in speed/performance. Generating and working on IK proxies allows for faster performance. Once the grading is done, you can quickly render the color data to the full-resolution version for viewing if needed.

One of the most important and appealing aspects of Lustre is that it can share media with other Discreet products, making it easier to collaborate because color grading metadata can be applied/rendered at any point of the post production process. David showed an example of this by importing alpha masks created in Inferno to grade specific areas of the scene in selective mode. This is an exciting proposition for any contemporary post company because it means that full service can be fully integrated.

Current Lustre users have commented that there are a few hitches when using the system on HD/SD projects. Originally optimized for DI work (2K files), the software development team at Colorfront continues to work hard at resolving issues related to working at those lower resolutions, such as capturing from an EDL, or retaining the original source timecode when recording out of Lustre. This is something that will need to be resolved because we have come to expect this capability from color correction systems.

Overall, Lustre allows colorists to further expand their creativity with its impressive features. Color correction continues to evolve and we continually seek new means by which we can bring imagery to life. We have to keep abreast of new developments in R & D; it is an unwritten part of our job description. It will be interesting to see the continuing development and the impact Lustre will have in the marketplace. I, for one, enjoyed the opportunity to experience it firsthand via a colorist with David's breadth of Lustre experience.