Mm-hmm

... with all the experience I had with this company that was mostly putting hardware together.

We were not really building, designing special, like, computer hardware ourselves, but we were picking things from very niche companies together for an application that wasn't yet really conceived in a way to capture live on set digitally.

And that gave me the introduction to people like, uh, very, very smart camera engineers at Philips, then Thompson later building this Viper camera, which also introduced me to this concept of like, uh, yeah, what is a log curve, and where does it come from? And yeah, there was the Cineon system from Kodak.

Back then, I, I learned about these bits and pieces.

I met some really clever and smart people.

We did some very simple 1D LUT real-time color grading within our system because, yeah, if you see like a green-tinted log picture on set, I mean, that's not really nice for anyone really, except for someone maybe wanting to judge the exposure or whether you're clipping something.

[chuckles] Um, or, or, uh, something like Romeria where, um, where there's this kind of multi-format approach that I found very thrilling.

Mhm.

Ja, also bisher waren sie schlecht.

Das war ja am Anfang bei der Musik auch so.

Mittlerweile ist es aber so, dass im Musikbereich du teilweise Ergebnisse hörst, bei denen du eben nicht mehr sagen kannst, das ist scheiße oder das ist schlecht, weil die Ergebnisse halt mittlerweile zum Teil, muss ich sagen, wirklich gut sind.

Also zumindest nach meiner Ansicht nach.

Und im Bereich Sprache ist es vielleicht noch 'n bisschen komplizierter als bei der Musik, weil es ja wahrscheinlich dann noch sehr mathematisch ist.

Bei der Sprache gibt's wahrscheinlich noch mehr Möglichkeiten als beim Gesang.

Ja.