The seating is carefully arranged so the grade 1 reference monitor the colorist is using is not visible to the client.Īnd that's in a room where the colorist has spent more on his calibration devices than you and I combined have spent on our computer gear. Which is why colorists work to get their suite's setup so that when clients attend the grading session, they ONLY see the screen provided for the clients. That way, you have an image that is highly quantifiably 'standardized'.Įven then, two screens connected in the same way to the same computer will not be identical. is a fully calibrated then profiled to check the calibration monitor fed a clean output signal from an AJA or BlackMagic device. The only "correct" I know of, from working heavily with pro colorists for years now. So if you need say 600 IRE top speculars, it's up to you to guess where that would be.īut it is possible to get something out that will probably be ok on the web.Įvery screen and every device will show a slightly to majorly different image of the same file. That's kinda rough at this point, as the bottom quarter of the scale is the darkest 25 IRE values. Now grade your image as you wish, and for checking out how bright your top values are in HDR terms, scrub or play through your sequence with the scopes scale (lower right again) set to HDR. Export using ONLY those presets with HLG in the preset name.Make sure your OS and your monitor are correctly set to and working in HLG.Set the scope values with the drop-down in the lower right corner to 10 bit.If not, right-click/set color space to HLG. ) make sure the scopes show Rec.2100/HLG in the lower left corner. In the Scopes panel (if you don't use scopes, Heaven help you.Make sure working color space is set to Rec.2100/HLG.On your SEQUENCE, click in the Timeline panel, go to the Main Menu, Sequence Settings, Video tab.Set the Override-To option to Rec.2100/HLG. As above, for all clips NOT already HLG, select your clips, right-click/Modify/Interpret Footage. All clips MUST be set to HLG for color space, working in PQ is only a specialist thing at this point.In the Project or Production settings dialog. Make sure your Project "graphics white" setting is 203.if you like going into the Wild Wild West. HDR is actually much harder at this point, as so many devices still either do not work with HDR media at all or do so poorly. When exporting, use ONLY presets that do NOT have HLG/PQ in the preset name.NOW do any corrections for tonality/hue on your sequence.Check the Video tab Working color space, make sure it is set to Rec.709.IN THE SEQUENCE, click within the Timeline panel so it has the blue line which is "focus", now go to the Main Menu system, Sequence/Sequence Settings.Right-click/Modify/Interpret Footage, set the bottom CM setting Override-To option to Rec.709.You can select many clips at once and do them in a batch. ALL HLG clips must be transformed to Rec.709/SDR using color management settings in the Modify/Interpret Footage dialog.Check the clip Properties in the Project panel. ALL clips must be in the Rec.709/sRGB color space. If you do HDR, especially on Macs, the "Extended Dynamic Range where Available" should also be checked. And nearly all users should have the Preferences option "Display Color Management" clicked "on". It's basic color management, which must be consistent through the project. Doesnt' make any difference what the capture device is.
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