[Chris Wright]

i’m tracking that, lol. like I said, its a technical grade. you grade the aesthetic grade later. I don’t do multi-whitepoint/secondaries grading until all my shots match. its goes a lot faster to fix it for all, than for separate shots.
if your curious from an ire point of view, the beard isn’t the brightest object and so the whole image obviously won’t be fixed in only 3 whitepoints as black, white, mid aren’t enough for aesthetic grading. I did play around with it but didn’t save a ‘final look’.

[Chris Wright]

I recommend buying a color probe like colormunki. this should negate a lot of the problems you are experiencing with
scopes not matching what your eyes see. If you want to try a free self calibration, let me know, I have made a munsel chart that works really well.(just for fun to see if I could improve on perceptual grading)

[Chris Wright]

this is what I would call a purely technical grade. levels 5-90(allows room to grade) ire 50 at 18% grey. saturation channel 140. hue-skin tone line. white balance set for global tint average in HLS scope. I forgot to add, I also set my black and white point white balance. I use the histogram as it is easier to see rgb values. everything falls into +-1 pixel rgb tolerance.

I start all my images this way. this way, they not only match scene to scene, but leaves room for creative grading later.

[Chris Wright]

if you could get the original footage before it was deinterlaced, it would be slightly
higher quality as the dvd will pass-through the interlacing as a bob-weave in the playback device.

if you right click always deinterlace if its progressive, it will lose quality.(if it was interlaced, you lose quality here as it isn’t passed through into an interlaced sequence)

in interpret footage section, if its set to interlaced when in fact, its progressive,
it will lose quality.(if it was interlaced and you set to progressive, you lose quality here as it isn’t passed through

finaly,
put all your footage into an interlaced lower field timeline. then export ntsc lower field interlaced mpeg2 dvd compliant.

[Chris Wright]

25 or 29.97fps?
if you have 24fps footage, you can slow to 23.976 then add 3:2 pulldown. this can be done automatically by placing a 23.976 in a 29.97 premiere timeline or any standard dvd encoding program. if you have 30fps progressive, you can change it to 29.97 and each frame will become a field. same if you have any 29.97 progressive.

if you have a non-standard fps multiple more than 4% fps difference and not compatible(23.976) with 3:2 pulldown, you can use optical interpolation to create new frames so it doesn’t speed up or become jerky. premiere has one built in. twixtor is another one. without interpolation, you’d have to maintain the audio pitch if changing audio speed.(i’d use audition to maintain pitch)

[Chris Wright]

anytime you go below 444, you get chroma aliasing. prores 422 will sample half the chroma. that being said, if you’re going broadcast, you need to clip 16-235 rgb in luminance levels adjustment layer and clip color output white r240,g240,b240 adj layer to stay within broadcast standards.

free premiere broadcast safe preset
https://f1.creativecow.net/10774/premiere-pro-cc-20152-broadcast-safe-preset

depending on the speed of the animation, you can try fieldskit reinterlacer to create interlaced material from progressive material using various techniques, including the use of motion estimation.
https://revisionfx.com/products/fieldskit/

[Chris Wright]

great job on the tonal contrast and skin tone! musta spent some time on this one for sure.

[Chris Wright]

any examples of your new lut?
does your skin fall on the skin tone line?
does it work in high contrast?

[Chris Wright]

you need a good line to mic attenuator as line is much stronger. at least 50db should be good.

[Chris Wright]

are you using video or full range?

in color managements settings->use mac display color profile for viewers

walter and marc talk about this.
https://forum.blackmagicdesign.com/viewtopic.php?f=21&t=6557&start=100