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2.
COLOR SPACE/GAMMA
TV
709 GAMMA
2.4
CINEMA/
PROJECTOR
DCI XYZ
GAMMA 2.6
PROJECTOR
- Luminance: 48 NITS (Gi tr quy i
sng cy n cy/ m2)
- Projector Luminance: Gi tr quy i
nh sng
UI
GRADE ONE
Dolby, FSI,
TVLogic, Bon,
Eizo 4K3
UI
CAMERA
RESOLVE
WINPC
Christie, NEC,
Better for data,
Sony, Barco DCI price,
Competent 2K or performance on
4K = dnh cho PC > Mac
khng gian mu
OUTPUT
DECKLINK
ULTRASTUDIO
RESOLVE
WINPC
DECKLINK
ULTRASOUND
SDI
SPECTRACAL or LIGHTSTPACE
CMS
48 NITS (will be brighter than the projector if the NITS level is the
same since the image is larger and the distance from the eyes)
MONITOR (while color grading):709 GAMMA 2.4 or P3 DCI GAMMA 2.6 (when editing for
feature film to shown in theatre put GAMMA 2.6)
Color Space P3 covers larger than 709 - but lots of time when you go
further in the color space, push the color to their maximum range, the
color gets more saturated (sc s) so movies mostly look already good in
709.
When editing TVC or clips to show on a lot of platform, Yov mostly use
709 so its more secure that the color can be shown correctly on different
types of TV or monitors. When you go extreme or maximum in the color
range, the color might end up not shown correctly on low-end
B
monitors, TVs, etc.
709
- When you edit a film consider cultural context and they have a color preference (for
Asian they like the green color) then you can edit on P3 DCI so you cover a larger range
of that color (for example more shades of green)
- If you grade a feature on P3 when convert to 709 on DVDs it will lose some color. So
you need to do correct calculation/ algorithm to convert from P3 to 709 or your P3 movies
wont look as good as a 709 movie on 709 color space. So best solution is to have 2
versions, 1 color grading version for cinema, and a different version for DVD.
- DVD color space: 601
- Edit on 5D Mark II less contrasty, make the image rounder, not going too black or too
white if the end results are going to be shown on phones, computers.
Wifi Password: 0862635858
4.
- 2 weeks for normal quality monitor, since the monitor are effected by temperature and
humidity so the display can be effected. But it can be less for expensive high quality
monitor since they are more stable.
- When calibrating, its better to put the color space of the monitor to P3 and calibrate it to
709. If you calibrate 709 on a 709 color space monitor, the color range is more restrained
so it can be less accurate.
- For HP Monitor put Gamma space at 2.4
4
RENDERING / EXPORTING
- ACES RRT Reference: the color changes after exporting even though the footage looks
great. Need to be careful when working with ACES.
- With ACES in Resolve it doesnt work as well as in Daylight. You have to create a CTL to
avoid side effect of this little deficiency of Resolve with ACES
- Rendering Exporting ODT
Render
There is also an artistic choice to be made for renders. Partially that is because display devices cannot display the
full spectrum of colors and only have limited brightness, so we can squeeze the colors to fit in the gamut of the
device. Besides that it can also be useful to give the renders a particular look, e.g. as if they have been printed on
real film.
Another common use case is when you want to inspect renders, to see details in dark shadows or bright highlights,
or identify render errors. Such settings would be only used temporarily and not get used for final renders.
View
These are different ways to view the image on the same display device.
Default
Does no extra conversion besides the conversion for the display device.
RRT
Sequencer
Color Space
The color space that the sequencer operates in. By default the sequencer operates in sRGB space, but it can also
be set to work in Linear space like the Compositing nodes, or another color space. Different color spaces will give
different results for color correction, cross fades, and other operations.
Create simple LUTs with primary stuffs, most basic to use as reference for DP. Test out
the preferred look before going on shooting so the Director and DP agrees on the same
look. These tests will help the DP and Director to be on the same page and be more
confident and trust each other while shooting since the Director can see what hes going
to get from what he is shooting.
For example:
o Night Look indoor / outdoor
o Day Look Indoor / outdoor