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color correcting 2048 x 1536 cineon files in AE?
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pete,
Should I have the gamma of elin’s “logtovid” or AE’s cineon convertor set to gamma of 1.7 or 2.2? I noticed that elin’s default is 2.2, but AE’s cineon convertor is set to 1.7.
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The gamma should usually be set to 1.8 for macs and 2.2 for PCs if I am not mistaken.
Good luck
Pete -
pete,
It’s not so much correcting the gamma of the computer monitor that concerns me; it’s the external NTSC monitor I’m worried about. Switching the gamma setting in elin changes how bright the output is that’s going to my external CRT monitor that I’m using for my color corrections. So, I’m curious if it should be set to 1.8 or 2.2.
any thoughts?
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Are you using an external NTSC monitor for film color corrections???
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Yes. Jim Dodson in his post earlier in this thread described his use of an NTSC monitor for a 35mm correction. Not ideal, but 95% possible, if proper care and tests are taken. So, I figured I’d give it a try.
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You do realize about the luminance/chrominance differences?
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Yeah, I know it’s apples and oranges, but I don’t have a projector to monitor it. So, I’m going to correct it as best I can, and then adjust the color timing based on printing wedge frames from my sequence. From that I’ll make a custom LUT that accounts for the difference between what I see on the monitor and what I see on the screen. I must do the best with the materials I have. Any advice you can give me will be appreciated.
thanks for everything,
– JB
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Well this is bassackwards. In order to get into video space you are essentially narrowing your color and luminance gamut. Blacks are brighter and whites are darker in video space. Film can also handle more saturated colors than video.
Generally color timing is done on a CRT monitor not a projector. So you shoot wedge frames and then compare them to your monitor with a lightbox.
I would think differently if this were a video to film transfer. You are essentially introducing an extra step which will affect your color fidelity and your ability to judge what something will look like on film. You are taking away information!
If video output is more important to you and the film output is more of an afterthought maybe you’ll be fine.
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ZANIAN, “Generally color timing is done on a CRT monitor not a projector. So you shoot wedge frames and then compare them to your monitor with a lightbox”
Ummm, that’s what I said I was doing. Perhaps you didn’t read my response correctly.
ZANIAN, “Well this is bassackwards. In order to get into video space you are essentially narrowing your color and luminance gamut. Blacks are brighter and whites are darker in video space. Film can also handle more saturated colors than video.”
Zanian, if you know something, then why don’t you describe a pracatical solution step by step? You basically wrote that film has more depth than video. Well, geez, no kidding. I have to correct 10 bit cineon files on an NTSC monitor, reder out cineon files, and have them printed to 35mm. Any advice you can give me on a workflow for that would be appreciated.
ZANIAN, “I would think differently if this were a video to film transfer. You are essentially introducing an extra step which will affect your color fidelity and your ability to judge what something will look like on film. You are taking away information!”
What extra step? I’m printing wedge frames from an AE cineon sequence, comparing them to my monitor, adjusting my timing accordingly, and then printing out. That exactly what you said I should do.
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All you have to do is scrap the NTSC monitor and use a computer monitor–preferably CRT. Same comparing of wedge frames.
Try to bring the computer monitor into the realm of film by putting a Marcie (with a log to lin LUT) on the screen and adjust the monitor accordingly. Shooting a wedge (with an untouched Marcie also on the wedge) will help you see how far you are off. Then you can again adjust your monitor more to be closer to film.
As for video this can be done fairly quickly AFTER you get a look on film.
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