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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

Where's RAW support in Color?

It has not been abandoned. As I said before, these things can, and do take time. I do believe there was some demos of the current state of the support at IBC.

Graeme
 
Graeme, do you have any info about when it will be out? Before the end of the year or next year? Would be good to have a clue...
 
I don't know that information.

Graeme
 
So I guess DPX is a file that almost all programs will understand. Right?
And just so I understand this right, each or most programs out there can generate a DPX and while they may be slightly different the info is in there and Color knows how to read all of the slightly different DPX files and get the original info. Right?

Now about LUTs... I really don't get how they factor into Color... and where you would get the LUTs from? Is this just referring to the way that Color would process the math? If so I guess I really don't need to worry about this sort of thing since it is way beyond what I should be focusing on now.
 
LUTs are basically "looks". The simplest way to think about them is just like you would color correct a shot and then apply that same "look" to another shot. They're more specific and complicated than that, but thats the simplest way to wrap your head around it. They are an interpretation of the color information.

DPX files are similar to many other file formats. They're most of note because they are an uncompressed format (i believe) and are the standard (for now) for high end motion picture work.
 
gunleik said:
hm...

Display LUTs are one thing, looks are another...
Click to expand...

yep, your right, I was just attempting to illustrate it in the broadest stroke possible.

EDIT: actually, your right, my explanation is lame, and poorly written regardless. It's really late here, I obviously need some sleep :)
 
Fair enough Brandon, if you get the chance please get back to this one when you have a moment and your warm cup of coffee in your hand. :)

Thank you for the part about DPXs

Can the current Color do grading and CC previews in real time of 2K or 1080p DPXs?
 
Broadly and generally spoken, you could say that display LUTs are used to

Standarize screen responses to different deliveryformats


You have a "pre-correction" of your screen/projector to mimic the respons of the format you are correcting for, be it film/DCP/HD-TV/SD-Tv or web :)

Without a proper LUT, your images will most likely NOT look the way you thought, @ delivery.
 
I totally thought of that! I thought they should do that I swear :)

Thanks for the 'splanations guys. I totally get it now. Two very important things to know about.

So are LUTs out there to be downloaded for particular screen card combos? Say you get a Panasonic 17" monitor, and you also got whatever X card you needed to use to get the signal out to it (still haven't figured that one out). So you know that you need that particular LUT, and all you need to do is go into Color and click on it or something? Or I guess you might have to create your own to compensate for tolerances and errors in manufacturing by calibrating it correctly and take your time one day with blue bars and any other methods that ensure proper calibration (like a pro calibrating alien life form dude :alien:)?
 
here's how i understand LUTs.
1. for broadcast SD/HD (601/709 color space) LUTs do not apply. what you need to do is properly calibrate your monitor (CRT or LCD broadcast monitor). the monitor is the equivalent of the end user's viewing environment. so if it is properly calibrated, it is giving you a "true" representation.
2. for film delivery you need to apply a LUT to your broadcast CRT or LCD monitor so it displays a (hopefully accurate) approximation of what the material will look like after it has actually been printed back to a particular film stock and then projected on a screen.
this is a very complex and expensive procedure to do correctly and COLOR seems not really up to the task at present. it often involves tests being done between the post house and film lab, sometimes custom LUTs being written, etc...
also I believe they are normally used with a digital projector as opposed to a monitor for final output due to the fact that they are for projected format.
i really don't know what i'm talking about here so grain of salt recommended.
 
Calibrating your monitor for HD delivery

Calibrating your monitor for HD delivery

So.. how do you properly calibrate your monitor for HD broadcast (Rec709) when you say LCD monitor?
I am planning to purchase the HP Dreamcolor and Quadro CX card after much consideration and reading posts on Reduser. I hear that Dreamcolor comes with its own calibration hardware at a price (around $300?). I wonder if that will be good enough to use and call it good. I don't want to compromise or guesswork on Redcine and Color, but other high end equipment are.. well, too high end in price.
 
janghos said:
So.. how do you properly calibrate your monitor for HD broadcast (Rec709) when you say LCD monitor?
I am planning to purchase the HP Dreamcolor and Quadro CX card after much consideration and reading posts on Reduser. I hear that Dreamcolor comes with its own calibration hardware at a price (around $300?). I wonder if that will be good enough to use and call it good. I don't want to compromise or guesswork on Redcine and Color, but other high end equipment are.. well, too high end in price.
Click to expand...

Hoping to use the same or similar setup as this.
 
Thanks for the explanations.

I also would be very interested in finding out if that HP would be able to give you decent results... never heard of it before.
 
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