[Stig Olsen]

Thanks for the inputs!

[Stig Olsen]

I understand that if the entire picture is “white”, but in this case the colored product fill most of the frame so that the scope reads different, How do you deal with that?

[Stig Olsen]

Thank you Jamie, now its gone!

[Stig Olsen]

Thank you guys, I will post a commercial that I graded pretty close to the example as soon as it is finished.
And Sasha, great work with those you posted!
I did also see the Coke commercial, it has also been shown on norwegian channels! 🙂

[Stig Olsen]

Gabriele,

Its been a long time since I stopped listen to all that nonsense you are serving on this forum. There are enough of well skilled technicians here that is more than willing to share their experience. Im grateful for that, and I dont miss your voice. Not this time either.

Stig

[Stig Olsen]

Thank you Peter, I think I understand what you are saying.

When you say that “its at that last step that you want to ‘deliver’ in the final format you need and most times you want full range data levels for all the processing steps before then” you actually mean that we should export full range if (lets say) the final output is done in Flame?

If that is my workflow, doesnt that basically mean that I should monitor full range also, to have full control over how the image will look in the next application? If I work and render full range, but set monitor scaling to normal – I have no idea how the full range file will look.

Like teo say ” what you see in legal range as little clipped in full range DCP it will be super deep black.”
This is what I want to avoid. I cant look at legal levels when grading, for then to export a full range image where the blacks appears different.

Maybe Im missing something here 🙂

[Stig Olsen]

I have delivered commercials working normal range. But each time when watching them on TV I have noticed that some of the commercials before and after had purer blacks. When I delivered today, my film was the only one with legal levels. The rest of the companies included Stop delivered full range. Maybe Norway accept full range pictures, I cant think of any other reason.

[Stig Olsen]

Joseph, Im pretty sure you are correct – that is just to advanced for me to understand 🙂 The one thing I know is that a full range file fed into Flame, mastered for TV have pure black levels on TV. A file monitored normal range, rendered normal range and fed into Flame reading legal levels, look flatter (grey in black) on TV. I also know that some high end post production houses in Oslo / Stockholm works full range and feed the Flame with a full range file. Why I dont know, but today I had to extend the levels from my normal range file in Flame for not showing my blacks sa grey on TV.

[Stig Olsen]

Hi, I know that it is the same scaling that happens. But, this should not be done in DaVinci – thats my point. That should be done in The mastering tool, because that is the only way to preserve true black. When working with the NS button on, you will not be able to produce the black that you want to be scaled later on. It set a limiter before the scaling.

[Stig Olsen]

Ok, but I think you can work full rang anyway because that way you can scale the full range file to legal levels in any mastering tool outside of DaVinci. That preserves the black levels made in “full range mode” without clipping. Lets say you feed a full range DPX into Smoke, and scale on the render. Correct me if Im wrong 🙂