Digital Colour Processor

Introduction

First, there was primary colour correction: adjusting the levels of red, green and blue. From that, came secondaries, adding yellow, cyan and magenta to the control palette. To make the leap from colour correction - essentially a repair job - to colour processing - a creative role - needs much more fine control over every hue in the spectrum.
Pandora's DCP gives you that - as well as comprehensive control over the whole image, you have the ability to focus in on an individual colour, defined by hue, saturation and luminance, and change it to any other colour. The selected colour can be as precise or as broad as you want, and it can be changed to any other colour in the spectrum. The ability to define by hue, saturation and luminance is unique to DCP and removes one of the biggest single barriers to colorist creativity. Yet DCP is even more powerful. You have not one but six of these colour processors running in parallel, each in a regional isolation channel. So, if you need to turn the red roses to yellow but leave the red carnations untouched, it is simple with DCP. DCP has two parallel 10 bit digital inputs: 4:4:4 for telecine and 4:2:2 for tape to tape colour correction or for a reference store. The processing is, of course, fully digital, using Pandora's unique algorithms and it remains within RGB colour space at all times, ensuring that no "illegal" colours can be generated. Finally, DCP is as user-friendly as it is powerful. The finest colour processing would be worthless if the colorist struggles to find the right facilities in the heat of a session. DCP adds another module to the Pogle control panel but keeps the same basic design philosophy: everything you need is ready to hand

If DCP is the finest colour processor available, ESR adds a huge boost to its facilities. It gives you remarkable but instinctive control over the parts of the picture to which correction is applied. ESR allows you to define objects within the scene by means of a colour and shape. Not just round and square windows from a library of predrawn shapes, but actual objects which follow the image in real time. Within the object you have the full range of DCP controls: both primary (lift / gamma / gain) and secondary. Then remember that, with ESR, you can define up to six such zones, with different colour processing within each as well as the remaining background picture outside all zones. Zones can overlap or be layered; and all processing is, of course, in real time. ESR also allows soft edges to the colour transitions. With other colour processors, a colour either matches the requirement (in which case it is modified) or it does not (so is left alone). By adding a range control to each parameter you can gradually introduce the correction, making for a much more natural look. It also gives you great creative scope: if the sky does not look right you can create your own, shading from red at the horizon to palest blue overhead

The Pandora team is dedicated to producing the finest in colour processing. By listening to the needs of colorists, they have built on the basic building blocks of the Pogle controller to produce the most powerful and creative facilities which are easy to use, reliable and repeatable

Enhanced Colour Correction (ECR)

Secondary Colour Controls

There have been several refinements to these functions: