We can mainly differentiate between three kinds of color correction:
In the HD postproduction workflow, we can color correct at two places:
Color correction depends always on the talent of the grader and of the director of photography and of their common creativity to build a color look of their film.
The HD digital color correction can be done today in different ways:
We had to conclude that there is no system which allows production companies with european style low budget films to work in a creative way without prohibitive costs.
We observed however, that talented people are color correcting in swiss postproduction companies, but on standard equipment. We looked for a method which can preserve this talent and use their experience for HD production.
The color correction is not done in HD directly, but offline in SD from a downconverted copy of the movie. The color correction can be done on any equipment which can work in standrad definition, for example on an Avid Symphony.
Mimikri then uses the color correction and applies it to the HD.
Mimikri does not have to know how the color correction actually was done. It analyzes the video in SD before and after the correction frame by frame and the applies the result to the HD.
Mimikri can deal with primary, secondary and spot color correction and is an automatic process which does not need much setup time.