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COROR BALANCE/ CALIBRATION (Oct 7th , 2016)

1. COLOR SPACE IN TV & CINEMA


- Beginning space: different cameras, different editing software, .
- Ending space: always be presented on TV or projector

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

GAMMA - the brightness of the picture


Gamma the curve reaction
Linear 0 -> 1 = Gamma 1.0
Computer GAMMA normally at 2.2 but when editing to fit the workspace for film, the GAMMA
should be set at 2.4

TV GAMMA 2.4 = close to TV CRT

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

CAMERA: Christie, NEC, Sony, Barco DCI


Competent 2K or 4K = dnh cho khng gian
mu
HDMI
SDI

RESOLVE
WINPC

GRADE ONE: Dolby, FSI, TVLogic, Bon,


Eizo 4K3
HDMI

DECKLINK
ULTRASOUND

SDI

SPECTRACAL or LIGHTSTPACE
CMS

PANEL TANGENT ELEMENT

C6 SPECTRECAL + KLEIN K80

***Projector also needs Calibration.


Theatre normally dont calibrate often for a new lamp when they just put it in, they calibrate one
time. But there should be a schedule for calibration for lamp.
*** Should always calibrate the monitor that were editing on.
PROJECTOR LUMINANCE

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)

(closer to Cinema Color Space)


GRADE ONE MONITOR

100 NITS (closer to TV Color space)

3. WHICH COLOR SPACE TO USE WHILE EDITING? (709 or P3 DCI


WORKFLOW)
-

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.

CALIBRATING A NEW MONITER (Using SpectraCal C6 Colorimeter)

- 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

Uses the ACES Reference Rendering Transform, to simulate a film-like look.


Film
This option is another film-like look.
Raw and Log
Intended for inspecting the image but not for final export. Raw gives the image without any color space
conversion, while Log gives a more flat view of the image without very dark or light areas.
Exposure
Used to control the image brightness (in stops) applied before color space conversion.
Gamma
Extra gamma correction applied after color space conversion. Note that the default sRGB or Rec709 color space
conversions already include a gamma correction of approximately 2.2 (except the Raw and Log views), so this
would be applied in addition to that.
Look
Choose an artistic effect from set of measured film response data which roughly emulates the look of certain film
types. Applied before color space conversion.
Use Curves
Adjust RGB Curves to control image colors before color space conversion. Read more about using the Curve
Widget.

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.

5. COLOR MANAGEMENT BEFORE SHOOTING ( LUT Test/ Camera Test)


a. Creating different LUTs (Film Look) to plug into the camera before shooting.

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

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