Dean Pickersgill
Forum Replies Created
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Fab Darby, thanks for sharing, exactly what I needed 🙂
Rgds Dean
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… Ooh, meant to ask in case you know off the top of your head – does PP inherit the workspace-profile I’m using in the related AE comp? I can’t seem to find an output module in PP that reflects AE …?
Rgds D
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Got an Xrite i1 display pro and I’m already more than happy with the resulting calibrations, Walter 🙂 Fabulous tool, and it’s beginning to fill what I already know are some massive gaps in my knowledge.
Thanks again for the pointers, and for recommending such a great piece of kit.
All the best
Dean -
I’m grateful for your words Walter, and plan to get an Xrite over the next couple of days – I’ll let you know how I get on with it. As this is my first production I naturally want to deliver the best possible render, your advices are roving invaluable 😉
Rgds Dean
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[Sam Lanes] “I personally usually use dynamic link to get the footage into AE, then export a new clip completely at full resolution rather than rely on DL to play the file back in PP.”
It’s exported fro PP into AE, Sam and yes it’s a high-res file. Must say I don’t see much mileage in constantly making a new file every time I make a change in the comp though, I want to see my preview and make changes on the fly.
Best regards
Dean -
[Walter Soyka] “Consider what would happen if your TV is off one way (maybe its gamma is set a bit too bright) and your viewer’s TV is off the other way (its gamma is set a bit too dark). You’d be looking at the image on your monitor, say to yourself, “My, this is too bright,” and then you’d darken it. Your viewer’s monitor would darken it even more, doubling the incorrect correction.”
I think I hear what you’re saying, Walter, forgive my tiny brain 😉 So the Colour Meter device you’re using allows you to tune your working monitor to the industry-standard colour spaces – then it’s likely the footage will look like all the other stuff the viewer watches (assuming he’s got his TV set inside his viewing comfort-zone) 🙂
I intend to rush off and buy one; do I also need to obtain any particular display to go with it, or will the 1080 Phillips I’ve got suffice? Or is it best to calibrate an average TV and use that …?
Rgds Dean
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Walter can I ask – if I use a bog-standard no frills TV as my ‘workspace monitor’ is it likely the resultant output would be at least tolerable on other TV’s …?
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Thanks Walter, and the summary of your advice being ‘get a proper colour probe’ of course opens up more questions for me! 😉
I’m grateful for your input, I shall explore/learn more …!
Best regards
Dean -
It is Ann, yes …
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Hi Walter …
How did you calibrate your monitor?
… I used the ColorSync tool on my MAC. I must say it’s a tool I’m not fully trusting; it seems to give different appearances to ALL my monitors (when calibrated individually) – I expected them to deliver at least similar results, but they’re all different. However, I DO trust the output from one monitor, so I’ve used that to work with …
What space is your footage starting in?
It’s AVCHD footage from a Panasonic HDC700 and I’ve no idea what the native space for that camera is, or where to look for it!
What format are you compressing to, and how are you watching on a TV?
By ‘format’ I assume you mean what Codec? It’s the H264 Mainconcept codec inside PP (which is sent along to AE I believe?) – but regardless of that if I interpret the footage (to ie HDTV) for my workspace, and set the output module to HDTV surely that should work, regardless of the ‘incoming’ format?
As for how I’m watching it – tried several methods; VLC, Windows Media Player (from a laptop) and I’m just about to try writing it to a DVD …
Rgds Dean