- January 12, 2021 at 5:28 pm
I’m about to grade a short film that was shot in Sony A7S ii, without any log set. Just the basic color space of the camera shot in 1080p.
My output color space is going to be REC709 2.4 but I was wondering what I should set my input color space to? sRGB ? REC709 2.2? REC709 2.2?
An input from an experienced member would be much appreciated!
- January 12, 2021 at 6:28 pm
Would you like to keep things as simple as possible, or would you prefer to encumber the process with color management that is often beyond your control and adds transforms that some people really don’t like?
If your project (apparently) is rec709 straight-through, then choosing to overlay a color management process is just adding a layer of complexity that is likely not necessary. Alternately, if there is some reason to comply with, for example, an ACES workflow, then choose accordingly. Input colorspace (IDT) should match your acquisition, so that the appropriate linearity is reconciled with the Source Space : Display Space transform. Any intermediate colorspace… ACES, Blackmagic, et al., are really just intended to establish a common exchange so that media is interpreted and placed correctly and then re-tabulated for its intended export reference.
Your project appears to be entirely linear. It would be like planning a trip from your house to visit next door, but wondering if you should go to a different neighborhood first. Walk.
- January 12, 2021 at 11:57 pm
Good to see the west coast has not changed you Joseph…another good line of wisdom there…Walk!
- January 13, 2021 at 10:35 am
Thank you Joseph.
As much as I like metaphors, I’m not sure where you’re going with your “walk”. I suppose you’re suggesting that I use the same output color space as my input color space? REC709 2.4.
- January 13, 2021 at 11:34 am
I’m sure that was Joseph’s sage advice and I would concur with that too.
Log in to reply.