Color Workflow
The Ultimate 4K HDR Live Cinema Production Truck
It All Starts at the Camera
Each CINELIVE broadcast begins with a flat-toned image from the cameras.
This preserves maximum image detail for live grading.
This consistent setup ensures a unified color science foundation across all cameras.
Iris Control by the Shader
Precise iris, shutter, ND control is critical for consistent exposure across camera angles. CINELIVE uses both traditional and modern workflows:
This dual control system allows flexibility depending on camera models and operator preferences.
Live Color Grading
The camera log signal passes through the AJA ColorBox that provides real-time LUT processing —critical for live environments.
The colorist grades in real time both a corrective and artistic LUT, ensuring all cameras match and align with the director’s vision.
Final Output
Depending on the show’s destination, the graded signal is output in one of several display color space formats:
• HDR (Rec. 2020 / PQ or HLG)
• SDR (Rec. 709)
CINELIVE ensures that the final color output matches the technical delivery standards of each platform, whether for a live LED wall, broadcast truck, or streaming network.