[Tom Gomez]

Epically awesome info. Thanks so much for your time and expertise Chris!

[Tom Gomez]

Thanks Chris. To super clarify… you’re saying that even if I use a LUT-box or a LUT-able monitor, it doesn’t really matter because Premiere is STILL CHUCKING color info? Meaning that my P3 might look okay, but it’s still fake because it’s extrapolating from a REC709 color space.

And even if I’m working in float with RAW or nice ProRes 4444 10-bit footage, I might be getting 10-bit accuracy, but the pallet is hard-limited to REC709/sRGB?

Forgetting about monitoring, you’re saying that EVEN IN THE RENDER, Premiere is limited to the REC709 pallet? I hope that AE is not limited to that.

I’m a big fan of Adobe, but this is critical information that I doubt many people understand…

[Tom Gomez]

Sounds like I’m very slowly beginning to understand! Big thanks to everyone’s help/time.

Quick follow-up question on Premiere and REC709 output…

[Chris Wright] “you’re right about everything. the only thing I see worrysome is that grading in a fake P3 transform won’t give you any extra color over rec. 709 if that is premiere’s maximum color palette. “

So, you’re saying that Premiere’s REC709 limitations will simply bottleneck the whole process. Would that apply even if I:

– used a LUT box external to the computer and loaded in a REC709 to P3 LUT
or
– used a monitor that could load that LUT

It seems like if Premiere is interpreting to REC709, and not actually chucking color info, that should work?

(PS. I will be going out 10-bit via Blackmagic Mini Monitor 4k to the reference monitor.)

[Tom Gomez]

Huge thanks for your time and input, Marc.

On the monitor, I totally understand. I’ve been battling this for a while. But alas, the budget is solid. The best I might be able to do is a Dreamcolor Z27x. A little better I hope! ☺ I’ll be going out 10-bit from Blackmagic.

So, you would grade it in REC 709, and then just do a LUT for P3, rather than the other way around? Just curious why. How much tweaking would be necessary afterward?

THANKS!!!

================================================
TOMDURHAM.COM
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[Tom Gomez]

Thanks for the info!

The machine itself is pretty slick. 10-core overclocked i7’s. Fast raided SSD’s. GPU is a GTX 1080, but I’m getting a Blackmagic for the 10-bit output to monitor. Don’t know if I should get “Intensity Pro 4k” or “Mini Monitor 4k”? Mini Monitor has HDMI 2.0. Don’t know if that makes a difference?

So, if I’m understanding:
1- I shoot RED and stay RAW on the timeline
2- Premiere interprets everything into a REC 709 color space sends that out the Blackmagic into the monitor.
3- I need a LUT to spread the REC 709 into DCI-P3
4- my reference monitor needs to DCI-P3 calibrated
5- then I can color (assume I color in Premiere)
6- when I render a master, I need to bake the LUT (from line 3) into the render
7- in theory, on other calibrated DCI-P3 devices, it will look like it looked on my reference monitor

I’m sure I’m missing something critical here. Head spinning! Thanks for any help/corrections!

================================================
TOMDURHAM.COM
Writing, Indie Filmmaking
Sci-fi, Fantasy, Anything Else That’s Cool

https://www.95ers.com
https://www.SpaceAceMedia.com

[Tom Gomez]

Hey Joe Loria! What did you end up doing?

It seems like I have the same need (doing some color correction without being able to purchase a true reference monitor.) I’m about to purchase the LG Electronics 31MU97C-B. I’m doing a small indie and need to be able to view, and eventually output to DCI P3 and Rec 709.

You mentioned creating LUTs, etc. Help me understand a bit more of your logic, and if that approach is solving your problem.

The LG is switchable from sRGB to P3 color spaces. I’m hoping that will get me close.

What did you do you set up your room? I still need to understand what Gamma settings I’m supposed to use based on my room and color space, etc. Ugh! I’m so new to this!

================================================
TOMDURHAM.COM
Writing, Indie Filmmaking
Sci-fi, Fantasy, Anything Else That’s Cool

https://www.95ers.com
https://www.SpaceAceMedia.com

[Tom Gomez]

Just checked with them. Does 8- 16- and 32-bit. Thanks!

================================================
TOMDURHAM.COM
Writing, Indie Filmmaking
Sci-fi, Fantasy, Anything Else That’s Cool

https://www.95ers.com
https://www.SpaceAceMedia.com

[Tom Gomez]

Thanks Dave! Off the top of your head do u know if it will do 32-bit?

================================================
TOMDURHAM.COM
Writing, Indie Filmmaking
Sci-fi, Fantasy, Anything Else That’s Cool

https://www.95ers.com
https://www.SpaceAceMedia.com

[Tom Gomez]

Cool! I’ll play with these. Thanks much!

I think I’m beginning to understand the RAW, luts, and color correction.

My big question right now is how to deal with the CINEMA DNG in AfterEffects. It brings them in fine and I work with them natively to do compositing. This is all before any color correcting is done anywhere, other than in the raw controls.

AfterEffects definitely displays the colors differently. It’s putting some kind of curve on things. And when I render things out, I’m obviously leaving the RAW land, and I lose the flat gamma that I like before correcting, which is what the premiere timeline still has since everything there is still RAW.

I’ve heard of ways to work in AE, and render out of AE that preserves things. Any thoughts?

================================================
TOMDURHAM.COM
Writing, Indie Filmmaking
Sci-fi, Fantasy, Anything Else That’s Cool

https://www.95ers.com
https://www.SpaceAceMedia.com

[Tom Gomez]

Yes I still need help! 🙂

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