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ProRes Color Space/Monitoring Question
Hello all.
I have a client who shot a short on 35mm and had it telecined and transferred to ProRes (He’s not sure what tape format they went to during telecine).
Here are the specs of his hardware/software:
Mac OSX Leopard 10.5.5
Final Cut pro (latest version)
Color (latest version)
Dual Core Xeon Chips 3.0 mghz
4 Gb RAMMatrox MXO DVI out to Dell 2405 FPW Monitor
Matrox MXO Component to Westinghouse LVM 37w3The problem is that the footage displays and renders about 20% darker than he remembers it being shot. He has also burned it out to a playable dvd and checked it on his consumer tv and got the same reults – which would seem to indicate the problem is in the coding/color space of the prores files and/or their relationship to the project settings, and not his hardware setup (which we’d like to optimize as well of course).
I feel like I saw a similar thread on CC that was about 4k/prores, but I haven’t been able to find it.
Can anyone please help? Many thanks.
J Fisher
Los Angeles -
4 Replies
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well its YUV not RGB if that helps.
maybe the telecine was messed up?
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[Jason Fisher] “(He’s not sure what tape format they went to during telecine).”
Has he considered asking the lab? I’m pretty sure they’d tell him if he asks nicely.
BTW, ProRes is not a tape format. IOW, there is no such thing as ProRes tape. It’s only a computer format, same as DNxHD.
[Jason Fisher] “The problem is that the footage displays and renders about 20% darker than he remembers it being shot”
What is he remembering? Did they print his dailies and project them from 35mm film? Did he have a video assist monitor on set? Was that monitor properly calibrated? Or is he just remembering that it looked really bright on set with all those lights?
Ultimately, this is an issue of how the material was shot an transfered. If he really has questions, he needs to speak to his DP and the lab. His material may or may not have been 20% brighter. And even if it was, it may have been transfered darker, or the material may not have been transfered to DVD properly.
And if he shot on film and his material really is 20% darker than he thought it was on set, well, that’s not a deal breaker. 35mm motion picture negatives have a lot of latitude, and a good 2K scan and DI session can easily bring back whatever he thinks is missing. Unless it’s really 40% darker… or 60% darker…
Arnie
Post production is not an afterthought!
https://www.arniepix.com/ -
thanks for the input guys. apparently they bypassed tape all together and went directly to prores during the telecine. we’re trying to determine whether it was a one-light or not and where/when/ if ever he’s actually seen the footage with accurate brightness values.
on the color space issue, FCP’s default is YUV all day prores or not right?
thanks again
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[Jason Fisher] “on the color space issue, FCP’s default is YUV all day prores or not right?”
default yes.
but there is an RGB option. unfortunately it is 8-bit only.
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