Sebastian Leitner
Forum Replies Created
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as mentioned before There is colorsync and therefore only apple apps (that includes safari) are color-accurate. it only works with apple retina P3 screens and some supported external LG 5k ones over TB. use my hack to circumvent it via a display profile which will freeze the iMac screen to real rec709 (use brightness of 50%) or use an external reference monitor. don’t calibrate internal screens, colorsync will get in the way almost all the time. barely anything is optimised for mac os or understands this internal colorsync “feature”.
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first off, no, the P3 is NOT DCI P3, it uses a different white point and still gamma 2.2, it only shows P3-like colors. so don’t change anything just make sure you are full range (in resolve you can change this with the flip of a switch). stick to prores and read on:
only calibrate for rec 709 in gamma 2.4 which will be about 20% darker already-also keep in mind, apple uses internal colorsync to stretch colors to P3 and make contet look alike across apple devices-but only apple software supports that, hence FCPX or QTX are correct.
I also write about this on my website if you click “show mare” under DCP ebook there is also a YT video. this is a feature, not a bug, but can be wildly confusing. you can override it with my trick on some machines. alternatives use an external reference screen since your iMac will always try to be too smart.
Using ProRes 4444 could help to soften but would actually be wrong. Be sure to only use the default color processing in easyDCP for both creator and player (sRGB), since your system remains to show gamma 2.2 and not 2.4 which is rec709 standard. if also bluray was crushed it’s clearly this levels shift. I use an 5K iMac for DCP, TV and BD alike (fcpx & resolve) and everything looks the same.
side note; the color transform preview in easyDCP is of course already xyz valves which do not work on your RGB panel so greenImagenta shifts are normal. however easyDCP player or also resolve will back-transform and then it should look like the original again.
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p.s. easydcp player is correct if the right color transformation is selected. but it’s all an estimate, only cinema shows the real deal.
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do not trust any preview, if your source is rec709 (gamma 2.4, which is prores native) select the standard ITU709 color processing (default). you will however only see the final image on a cinema screen.
the only possible issue could be levels though. meaning: full range or legal range, which is a 20% difference in gamma/contrast. rec709 is legal range and usually that’s the standard in any NLE, but computer screens are full range unless calibrated (with gamma 2.2). prores 444 however is full range and could alter your image if it was present at any stage. cinema is also gamma 2.6 in 12bit.
you can learn a lot about the basics in my free ebook about professional DCPmastering, available on my website
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sadly KAKADU DCP is only available in the studio version after the 15.2 update! so no free DCP via resolve anymore unless you stick with 15.1 – if you are interested in professional DCP mastering you can check out my free (and paid upgrade version) ebook which contains a ton of tutorials and basics, it starts with an overview of software, highlighting their differences. there is also a whole online training course (in german) available to completely learn about DCP mastering with resolve 15. you can find all that on my website: https://www.sebastianleitner.com
so – just a heads up that blackmagic probably ended their beta test of kakadu and now moved to a paid model because it was too mighty and luxurious before. or easyDCP was not happy they give a free DCP alternative.
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you do not understand how DSLRs work – they are for photography, so obviously they have a much higher resolution and pixel count on the sensor. if you take a look at the specs of, say the 5Dmk3, you see it’s around 5K. so, if you read out the full sensor you need to scale down to make recording work. magic lantern circumvents that and delivers direct read-outs but at the cost of sensor surface. magic lantern even adds HDR and dual-iso which brings the full dynamic range (14 stops – the most popular digital cinema cameras by ARRI only provide 13), to your footage, but it needs post-processing and does not work out of the box. this is another matter though.
in ML you can choose different aspects in RAW mode, without crop only 1920×1080 is the maximum though. you can shoot in scope or flat, which would refer to 1920×803 and 1920×1038 respective. for anything beyoond you would need to use crop and an extremely fast CF (not SD)
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you can familiarise yourself how ML RAW 1:1 crop works in the ML forums and descriptions.
very short story: as the name suggests it’s a 1:1 sensor read-out as opposed to normal canon video mode where the full sensor is used but scaled down to FHD. 1:1 means pixel-perfect, so it’s a strong center crop and only parts of the sensor are used – the only way to record in such high quality because processing power and memory speed are very limited.
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only the 5Dmk3 can – in theory – record 4K in 1:1 sensor read-out (4x crop) via ML in RAW 14bit. depending on the speed of the memory card. more realistic is up to 3.5K though and not continuously but in bursts (for now). but 2.5K run smoothly in crop mode and obviously FHD without the crop. but the 4K crop experimental build enables you to use this particular crop also for normal h264 recordings giving you FHD but nearly 4 times the focal length
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there is a reason why NTSC is not sold in PAL countries: it looks like crap.
firstly, resolution is even smaller and secondly and more importantly, the 30i would not be displayed correctly on most 50hz TV monitors.
in the US DVD is completely dead anyways, just go VOD there! and in europe people still like their DVDs – so give them good quality!of go bluray because there everything is 23,98 or 24!
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the rolling shutter is a little bit more apparent, yes BUT it really depends on the model and price range.
i personally love the look of full 35mm – it’s not mandatory of course. there are fantastic cameras with super 35 or smaller.
my biggest problem is crop factors with smaller sensors because i usually use 35mm lenses. but in the end it’s just a tool. full frame has better low light but you can also ensure this by clever electronics