Audience expectations of the cinema experience have evolved significantly in recent years. Today, viewers expect image quality that aligns with contemporary production and post-production standards – with accurate color reproduction, high contrast and visual consistency that preserves creative intent. At the same time, cinema operators are challenged to future-proof their technical infrastructure while integrating formats such as HDR in a meaningful and sustainable way. This is where Samsung Onyx comes in.

One response to these requirements is LED-based cinema display technology such as the Samsung Onyx Cinema LED display (ICD series). Designed specifically for cinema environments, the system introduces new possibilities for image reproduction, presentation quality and operational consistency.

LED technology as an alternative to traditional projection

Unlike conventional projection systems, Samsung Onyx relies on self-emissive LED technology. The display supports resolutions up to 4K with a refresh rate of 120 Hz[1] and achieves peak brightness levels of up to 300 nits[2]. This enables bright image areas to remain clearly visible without color washout or loss of detail.

Deep blacks, an almost infinite contrast ratio, and high color accuracy enable nuanced image reproduction across the full brightness range. Especially in high-contrast scenes, this results in more precise detail reproduction – an aspect that is increasingly relevant for both filmmakers and audiences.

HDR in cinema: consistent implementation of modern workflows

As HDR content becomes more widespread, its reliable presentation in cinemas is gaining importance. Modern cinema displays must not only support extended brightness and color spaces technically but also reproduce them consistently in real-world screening environments. Systems such as Samsung Onyx are increasingly designed to support HDR workflows from mastering through to on-screen playback.

This approach helps ensure that creative decisions made during production and post-production remain visible in the cinema environment, strengthening the connection between artistic intent and the final audience experience.

Flexibility for different auditorium layouts

In addition to image quality, flexibility is a key consideration for cinema operators. Samsung Onyx is available in four standard screen sizes – 5, 10, 14 and 20 meters – and can be scaled beyond these formats to accommodate a wide range of auditorium dimensions.[3] This adaptability allows cinemas to optimize screen size without compromising visual performance.

The system is also compatible with established cinema audio solutions such as Dolby Atmos, Meyer Sound, QSC and JBL, enabling integration into existing sound infrastructures.

Digital experiences beyond the auditorium

Modern display technologies are not limited to the screening room itself. Digital signage solutions enable cinemas to enhance visual communication in lobby and service areas. Energy-efficient color e-paper displays[4] can be used to present programmed information or advertising content and are centrally managed via the Samsung VXT device and content management platform.

Additional Smart Signage displays can be deployed for menu boards, trailers or brand communication, creating a consistent visual experience throughout the entire cinema journey – from arrival to the start of the film.

Display technology is increasingly shaping the way audiences experience cinematic stories. As production standards continue to evolve, solutions like Samsung Onyx illustrate how image reproduction, brightness and color accuracy can be aligned more closely with creative intent. For cinemas, this opens new ways to present content in a technically consistent and visually compelling manner – supporting the medium of cinema as it adapts to changing audience expectations.[5]

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[1] Based on the internal data bandwidth of the screen. Actual frame rates may vary depending on the connected IMB.

[2] Peak brightness is supported when using DCI-HDR-supported IMB.

[3] All measurements in metres refer to the screen width, while all measurements in inches refer to the diagonal. The 10-metre Onyx screen is available now, with the remaining models being introduced gradually.

[4] Thanks to advanced technology, color e-paper consumes significantly less energy than many other digital signage devices, especially when displaying static images. This can result in direct cost savings. The 4,600 mAH battery also offers high energy efficiency.

[5] The quality of film screenings may vary depending on the region and cinema.

The post Samsung Onyx: How modern display technology is redefining the cinema experience first appeared on DIGITAL PRODUCTION and was written by Advertorial.

Datacolor, a global leader in color management solutions, has introduced the LightColor Meter, a multifunctional device for measuring light intensity and color temperature. It supports various light sources, including changing daylight, artificial light, LED, HMI, fluorescent tubes, and flash. Unlike traditional light meters, this device goes beyond simple exposure measurement.

Color temperature measurement—determining whether a light source is warm or cool—provides essential information for selecting the best lighting and exposure for a scene, ensuring consistent color rendering. The device also includes built-in gel filter libraries from Profoto, LEE, and Rosco to help users choose the right color correction filters.

Wireless Data Transmission and App Integration

Paired with the free Datacolor LightColor Meter App (iOS/Android), the Bluetooth-connected device continuously transmits real-time data to a smartphone. This allows for remote, on-the-fly adjustments without needing to move between the camera and the meter. Filmmakers, photographers, and hybrid shooters can easily fine-tune lighting and exposure. Additionally, multiple LightColor Meters can be linked to synchronize lighting measurements across larger sets or live events.

According to Heath Barber, Director of Consumer Product Management at Datacolor, the device acts as a “personal assistant on set—except it fits in your pocket.” Beginners benefit from automated exposure guidance, while professionals gain precise measurements of color temperature, dUV, and light intensity in one compact tool.

Why Precise White Balance Matters

White balance is crucial for achieving consistent color reproduction in digital production. Different light sources emit varying color temperatures, making images appear warmer or cooler depending on the conditions. Accurately measuring color temperature allows for precise white point adjustments, preventing unwanted color casts. This is especially vital in high-end post-production or multi-camera setups, where consistency is key. The LightColor Meter provides real-time, accurate data, minimizing color correction efforts and ensuring uniform results across shots.

Gel Filter Libraries: Preloaded Color Adjustments

The LightColor Meter comes with built-in gel filter libraries from Profoto, LEE, and Rosco, three industry leaders in lighting modification. These libraries include a wide range of correction and creative effect filters, allowing users to match artificial lighting to daylight or create stylistic color effects. The app provides a digital preview of these filters, helping users select the right combination before even setting up lights. This not only speeds up workflow but also reduces the need for extensive color grading in post-production.

Price and Availability

The LightColor Meter is available for €449 (incl. VAT) and can be purchased via the Datacolor website, Amazon, and authorized resellers. The LightColor Meter App is free to download for iOS and Android.

Production-Ready?

While the LightColor Meter offers a powerful and compact solution for precise light and color temperature measurements, professionals should test it in their workflow before integrating it into active productions. In production environments, stability, accuracy, and seamless integration are non-negotiable.

And, if you aren’t sure: Digital Production author and resident Color Scientist Prof. Uli Plank has almost received the package with the LCM (Or so the DHL tracking claims), and he’ll test it and give you a verdict!

The post Datacolor LightColor Meter: Precision in Light and Color first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

In nuce: Assimilate has announced that the two software packages Live FX and Live FX Studio are now available. According to a recent press release, the two packages should be particularly useful for real-time compositing, whether for green screen or virtual production films. Furthermore, the software package is intended to simplify pre-visualisation on the one hand, and on the other hand also simplify VFXs that are created directly in the camera. Those who opt for Live FX or Live FX Studio can look forward to noticeable time and cost savings, as Assimilate puts it. Jeff Edson, CEO of Assimilate, emphasises how important the open beta for Live FX was for the further development of the software.

What’s inside Live FX and Live FX Studio? Below is a brief outline of what users can expect from the two software solutions.

Live FX is primarilyaimed at independent filmmakers who work with green screen. Live FX is designed to enable these creatives to create entire 3D environments in real time and supports camera tracking-based green screen setups (e.g. Intel RealSense, HTC Vive, or Stereolabs ZED2i). The generic FreeD protocol and Open Sound Control are also supported – which captures camera tracking information.

Live FX Studio is a further development of Live FX. With Live FX Studio, users can utilise 3D environments directly in the application – via notch blocks and scenes in USD format. Complex camera tracking solutions such as Ncam or Mo-Sys are also supported. Another feature is multicam support – including remote control of Brompton Tessera LED processors and video router control for AJA and Blackmagic routers.

Click further: All further information on Live FX and Live FX Studio.

The post Assimilate releases Live FX and Live FX Studio first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.

In nuce: In a study worth reading, the Animation Institute of the Filmakademie Baden-Württemberg reports on virtual production – and how it can be used to realise sustainable film projects. The title of the paper is “Green Screens, Green Pixels and Green Shooting”, outlining in four informative pages how modern film productions can focus on sustainability.

Research question of the study: Can VFXs be produced more sustainably thanks to new technologies? To answer this question, the authors of the study contrasted two comparable productions: A traditional offline post-production and a virtual production with an LED wall.

The initial situation: According to the study, several recent reports show how conventional film productions affect the environment. The average CO₂ requirement of current feature film productions is estimated at 2840 tonnes. However, according to the study, visual effects and their impact were not taken into account. The Animationsinstitut study is primarily based on the Screen New Deal.

Comparing two approaches: As knowledge about the sustainability of virtual productions is currently thin on the ground, the authors of the study decided to compare two different approaches to film production: A production with commercially available offline rendering and industry-standard post-production, contrasted with a production with LED walls and in-camera visual effects (ICVFX).

Object of the comparison: In order to investigate the environmental impact of a film production, two Filmakademie productions were compared with each other: the offline production “Sprout” (2019) and the virtual production “Awakening” (2021). “Awakening” was part of a set extension workshop for Film Academy students, in which students get to know the different film departments.

Turning the focus – and the wheel of time? Will blue and green screen soon be a thing of the past in terms of production technology?

Production No. 1 – offline production “Sprout”: In this production, most of the energy consumption was used for offline rendering and post-production. Here, the traditional green screen was used in post-production. The study states: “The studio shots were realised in two days. The production comprised eight shots with a total of 3233 frames, including VFX.” It goes on to say: “The average render time was between 40 minutes and up to two hours.”

How much (wo)manpower was required for “Sprout”? The study says that the pre-production of “Sprout” took 100 man-days (eight hours per day), while the subsequent post-production was completed within 300 man-days. A person-day is made up of eight person-hours. The so-called person-hour measures the average performance of a person within one hour. A total of five students were involved in pre- and post-production.

How much electricity was consumed during offline production? All in all, “Sprout” consumed a total of 5073 kilowatt hours of electricity, 4% of which came from pre-production, 13% from post-production, 79% from offline rendering and 4% from the electricity required for the displays.

Sprout (2020) | VFX Breakdown

Production No. 2 – LED wall production “Awakening”: Instead of the frequently encountered green screens, “Awakening” used curved LED walls as part of a virtual production. The authors of the study measured “Awakening” with eight shots, which totalled 8898 individual images. In terms of workload, seven students were involved in the pre-production for five weeks, and six students were responsible for the post-production for a period of five weeks.

How big was the (wo)manpower of “Awakening”? Six people were involved in post-production for five weeks, resulting in a consumption of 504 kWh. The authors point out that one might have expected a lower figure for ICVFX, as it is generally understood that in-camera visual effects are those that are recorded on set and do not subsequently require post-production.

How high was the power consumption of the LED wall production? The authors of the study estimate the total power consumption for the LED wall production at 1594 kilowatt hours, of which 37 % was used for pre-production, 31 % for post-production, 10 % for the displays, 19 % for the LED wall, 1 % for LED wall rendering and 2 % for offline rendering.

In their conclusion, the authors of the study came to the conclusion that a virtual production can consume around three times less energy than an offline rendered production. The authors therefore consider virtual production to be a sustainable and environmentally conscious production technique. However, the authors emphasise that they are not giving a clear vote in favour of virtual production, as it is “not a solution for all aspects of film production”. At the same time, however, it should be seen as a valuable option that presents environmentally friendly and sustainable solutions.

Click further: You can read the entire study in either German or English. Click on the links to find out more about the Film Academy, its animation institute and its research activities. Prospective students can find out everything they need to know about the Ludwigsburg university’s training programme in our article “Filmakademie: Auf zum Studenten-Oscar?”, printed in the print edition DP 03 : 2021.

The post The Filmakademie Baden-Württemberg researches sustainable filmmaking first appeared on DIGITAL PRODUCTION and was written by Patrick Poti.