Can anyone explain ColorSync & Color Correction

[Jeff Greenberg]

ColorSync syncs your monitor for Print – which is in CYMK space. In print you add no ink (subtract) to get to the color white on the paper….where on a computer, you add all three channels (RGB) to get to the color white (additive.)

The math is different for video display than for print or a computer, so colorsync is not going to help you – and yes, you’ll need a calibrated monitor for proper output. There’s no getting around this.

[Oded Helman] “also another general question, does professional Films get regraded for different delivery Systems” Film print vs. digital cinema? If there’s money in the budget? Yes.

[Oded Helman] “would there be a different Color Grade for a NTSC DVD vs a PAL DVD to compensate for example on black levels???”
Possibly – but yes, the QC on both are different.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
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[Oded Helman]

Thanks a lot for all the answers Jeff

but that brings me back to the source of my original question, which is why people are excited that FCP-X is going to work with ColorSync?

thanks again,
Oded

[Tom Wolsky]

So what is ColorSync going to do for FCP X?

All the best,

Tom

Class on Demand DVDs “Complete Training for FCP7,” “Basic Training for FCS” and “Final Cut Express Made Easy”
Author: “Final Cut Pro 5 Editing Essentials” and “Final Cut Express 4 Editing Workshop”

[Jeff Greenberg]

That’s a fascinating question now, isn’t it Tom?

Perhaps Apple will come up with some math transcode for their work with colorsync extending it to video
Perhaps Apple will say f*** it and say, hey, this guarantees it will all look the same, as long as everyone has the same colorsync values.
Perhaps Apple will be modifying QuickTime along with FCPX.

Anyone who knows isn’t saying – and we’ll all know by July 1st.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
Come See me speak at NAB!
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Jeff Greenberg]

Oded,

I’m not excited (or not excited) about ColorSync. I suspect apple will be changing the way things work; until they do, you’ll have to rely to a broadcast monitor to evaluate images.

I suspect you’ll still need that broadcast monitor after the fact as well. Nobody is sure what apple is planning – could they be washing their hands of broadcast space and say “Use color sync for the web?”

You’ll know at the end of next month.

Best,

Jeff G

Apple Master Trainer | Avid Cert. Instructor DS/MC | Adobe Cert. Instructor
————
You should follow me (filmgeek) on twitter. I promise to be nice.
Come See me speak at NAB!
Compressor Essentials from Lynda.com
(older but still good) Marquee, Media Composer (3.5) and Basic/Advanced Color DVDs (1.0) from Vasst.com
Contact me through my Website

[Andy Mees]

Hey Oded
The intent behind introducing ColorSync support in FCPX, is exactly as pre-announced during the Sneak Peak ie to provide accurate color space management throughout your FCP X workflow (ie ingest through export) so that what you see on your monitor is a true representation of the colors as recorded and edited, and that your final export will preserve that accuracy. Currently, yes, one needs to use a properly calibrated production monitor to ensure that the colors you are looking at are accurate because FCP is not built to ensure that accuracy within your Canvas window. With FCP X, assuming you have accurate profiles for your devices, then the Color Sync managed workflow should allow you to be able to critically assess your images within the FCP interface itself … although obviously what you see on your display will still of course be limited by the quality / accuracy of the display itself. It’s pretty safe to assume that regardless of ColorSync, pro users will still very much want and require high quality broadcast output and display for artistic and technical monitoring purposes.
Hope it helps
Andy

[Oded Helman]

Thanks Andy,
that was what I was looking for

[Richard Herd]

That’s a really complicated issue.

Here’s detailed article: https://ascmag.com/magazine/jan05/conundrum/index.html