how to set up color correction?

[Louis Kreusel]

Hey,
I have a short film shot on an EX1 and someone has very kindly volunteered to grade it on Baselight. He normally works in a calibrated, proprietary film colorspace. The reference monitor is an HP dreamcolor. This setup is working for reliable filmouts for major studios.

My short will be his first video, rec. 709 project on the Baselight. Can anyone recommend how we should we set it up? The dreamcolor has a setting for "rec. 709" should we use that?

Another option that has been recommended is to convert my short to filmspace, color correct, then convert back to video space. We have some good proprietary tools for the conversions. Thoughts?

I would love to hear from some CC pros like Lucas.

I've been reading Reduser for a few years and really really appreciate all the info and advice that this community generates. I hope I'll be in a position to contribute some day.

Thanks
-Louis

 

[jake blackstone]

Hey,
I have a short film shot on an EX1 and someone has very kindly volunteered to grade it on Baselight. He normally works in a calibrated, proprietary film colorspace. The reference monitor is an HP dreamcolor. This setup is working for reliable filmouts for major studios.

My short will be his first video, rec. 709 project on the Baselight. Can anyone recommend how we should we set it up? The dreamcolor has a setting for "rec. 709" should we use that?

Another option that has been recommended is to convert my short to filmspace, color correct, then convert back to video space. We have some good proprietary tools for the conversions. Thoughts?

I would love to hear from some CC pros like Lucas.

I've been reading Reduser for a few years and really really appreciate all the info and advice that this community generates. I hope I'll be in a position to contribute some day.

Thanks
-Louis

I'm sorry, but are you saying, that Dreamcolor is used "for reliable filmouts for major studios"? How is that possible? And what's with the
"calibrated, proprietary film colorspace." What exactly does that mean? If someone had agreed to do the grade for you on the Baselight, then why are you asking how to set up, what, the monitor? In either case, for the video deliverables you should use the Rec-709 settings, but you still will need to calibrate the monitor, if that is what you're asking...

 

[Louis Kreusel]

Hi Jake,
Thanks for your reply.

My questions is, since this Baselight is setup for film, and the colorist only works with film, how can we grade something for a rec 709 final with the least bother.

Ok, so supposing we make sure the dreamcolor is in rec 709 and calibrated. Anyone know if the Baselight should be set to use a certain LUT or any other setting that is important? Our solution right now is to turn LUTs off.

(PM sent)

 

[jake blackstone]

Hi Jake,
Thanks for your reply.

My questions is, since this Baselight is setup for film, and the colorist only works with film, how can we grade something for a rec 709 final with the least bother.

Ok, so supposing we make sure the dreamcolor is in rec 709 and calibrated. Anyone know if the Baselight should be set to use a certain LUT or any other setting that is important? Our solution right now is to turn LUTs off.

(PM sent)

I understand, your main grading monitor is professional CRT. So, yes, for video deliverables just turn LUT off on the Truelight and you'll be fine, as long as the monitor is calibrated for Rec-709 specs.

 

[Lucas Wilson]

I understand, your main grading monitor is professional CRT. So, yes, for video deliverables just turn LUT off on the Truelight and you'll be fine, as long as the monitor is calibrated for Rec-709 specs.

Jake,

Could he be talking about linear vs. log controls in the grading interface?

Lucas

 

[jake blackstone]

Jake,

Could he be talking about linear vs. log controls in the grading interface?

Lucas

Hi Lucas.
We communicated privately a bit and and my understanding, that it's all linear all the way. Louis just wasn't sure, if the workflow would even work for the video deliverables on the Baselight, that normally used for film deliverables. He wasn't sure, if video deliverables were even possible on that Baselight.