Devin Uzan
Forum Replies Created
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All you have to do is scrap the NTSC monitor and use a computer monitor–preferably CRT. Same comparing of wedge frames.
Try to bring the computer monitor into the realm of film by putting a Marcie (with a log to lin LUT) on the screen and adjust the monitor accordingly. Shooting a wedge (with an untouched Marcie also on the wedge) will help you see how far you are off. Then you can again adjust your monitor more to be closer to film.
As for video this can be done fairly quickly AFTER you get a look on film.
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Well this is bassackwards. In order to get into video space you are essentially narrowing your color and luminance gamut. Blacks are brighter and whites are darker in video space. Film can also handle more saturated colors than video.
Generally color timing is done on a CRT monitor not a projector. So you shoot wedge frames and then compare them to your monitor with a lightbox.
I would think differently if this were a video to film transfer. You are essentially introducing an extra step which will affect your color fidelity and your ability to judge what something will look like on film. You are taking away information!
If video output is more important to you and the film output is more of an afterthought maybe you’ll be fine.
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You do realize about the luminance/chrominance differences?
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Are you using an external NTSC monitor for film color corrections???
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Marcie is fine. No need for a LAD girl if you have her. They picked a pale white women with very subtle tones to immediately make it apparent if you are off in color terms.
As for elin. I would try not to complicate matters. It is better for float space emulation–helpful with realistic CG renders. It probably is not needed for now.
Color correct everything for film and then do a video version afterwards. Be sure to judge color and whites/blacks on a calibrated video monitor. Final Cut Pro is good for this but you can also do it in AE. Video has different black and white points and saturation limits.
While 2048×1556 (more common) is 4:3 this is the full frame. This full frame is never seen projected. The most common aspect ratio is 1:1.85, 1:2.35 and 1:1.78 (HD). You probably can find mattes for this just for framing. Don’t render hard matted. You are welcome to hardmatte for TV for that more filmic look. This is something you can decide later when you do a video version.
In many formats the soundtrack area of the film takes out part of the left section of the frame. So make sure your output house knows what your intentions are or else something might get clipped that should be in frame. Try to find some guides to download or your output house should have some.
“Full Aperture” generally means the left side will be soundtrack area while “Academy Aperture” does not include this. It is a little confusing but ask your output house. So if you give them files and say these are “Academy Aperture” they will offset your files to take into consideration the soundtrack area.
hope this helps!
good luck
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Barend is correct. You need to know how your monitor and film output match. Output a series of “wedge” frames using different brightnesses/rgb values. Also get the Kodak LAD girl and Marcie to color correct your monitor in the meantime to what she looks like on film.
As for a LUT you can create an adjustment/guide layer with the default Cineon converter-although the default is not always accurate particularly with different film stocks and output methods. Most houses create their own LUT’s depending on their pipeline but the default one can bring you into the ballpark of linear space. Turn this off when rendering.
Cineons are used all the time in AE.
cheers