-
Color Correction
Hi there !
I’m new to the forum…
I’m doing color correction on a movie (1h40) DVCPro HD that will be shot on 35mm,and print on HDCAM Master.
I’m using AE on a G5 Quad with a DeckLink HD with a TV Logic LVM-241W HD-SDI Multiformat 24″ Monitor.Edited in FCP.
It’s the third time I work in this production company for color correcting. The first two time were great ! (2 short films : 16mm to HD cam To 35mm/ and DVCPro HD to 35mm) So I want this third big one time as good as previous !
I begin this week…
I have a few questions :
– First for monitoring :
Do anyone has advises for “calibration” on those LCD HD monitoring.
Must I proceed the setting as a CRT monitor. Anyone has a website or pdf of his method. The guy that sell the TV logic monitor told me I can use it with default setting… It seems true…– Then for Codec.
For now I use DVCpro HD for rushes (FCP data managing not export). I think I’ll render it in DVCpro HD also.– Then for size.
For a HDCAM Print To Tape must I finally output a 1920×1080 squarepix movie ?
Last time I rendered in DVCproHD. No problem for recording HDCAM tape but they experienced problem in exporting tga for 35mm shoot. Something like 2 f stops down. I wasn’t there so I don’t know If editor did something wrong or if the lab had a prob of compatibility or…– Then for color space.
I don’t remember color depht for DVCproHD. But one time I worked on a “16mm to AppleProRes” movie and the color Depht was trillion for movie and I was a bit confused for footage interpretation/Comp Setting/RenderSetting. Result was good but I didn’t know what I was doing.Sorry this is big !
As I’m new here,look where I can be helpful : FCP, DVD Sp, Color Correction, HDV-DVCProHD-XDCamEx Cam, Mini35, Lightning, Analogue Photo.
THX
V.
-
2 Replies
-
– First for monitoring :
You should set your monitor for color management, r,g,b,and gamma to 1.8(mac). or 2.2(pc). Adobe has one, but there’s some other high end calibration software out there. There’s footcandles, gamma, etc. on some LCD’s. Since you’re not going to Tv, you won’t need to worry about NTSC signals.Adobe recommends using linear color profiles for film work.
A must read!!! -All 5 parts.-
https://www.fxguide.com/fxtips-315.htmlYou can use DVCpro HD for final output, but I wouldn’t export and import more than 3 times, or you’ll start seeing color shifts because its not a 10bit 4:4:4 environment.
Film is 2048 not 1920×1080 HD TV. but if you shot cam at 1920, then ask if you want to leave blowup to the film developer. They will do a better job than enlarging software. Even with 2K DIs, sometimes titles are produced at 4K since sharp graphics are less forgiving of resolution loss.
Here’s an incomplete list of options for producer to choose from.
2.35ar (2048×872).
Cineon Half 1828×1323 1.37ar
Cineon Full 3656×2664 1.37ar
Film (2K) 2048×1556 1.32ar
Film (4K) 4096×3112 1.32arAs for TGA, it shifts a lot, Use PSD or TIff (LZW off) if you want to use smaller image sequences, but anything below trillions and you will lose color. OpenEXr and Cineon float are used by professionals to keep perfect images. What are they?
https://library.creativecow.net/articles/oconnell_pete/cineon.php
DVCpro Hd uses HDTV color management. Interpret it that way, but move into linear color management 32bpc asap. That’s the https://www.fxguide.com/fxtips-315.html.
A lot of people send out a 29.97 pulldown from 23.976 project on tape to the film developer. You should ask them what they can take. They know what they need to do, make sure you do too.
-
Hi Chris,
Thanx for your answer !
V.
Reply to this Discussion! Login or Sign Up