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feature-film colour-space graphics/stills pipeline

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John Hoare
feature-film colour-space graphics/stills pipeline
on Mar 3, 2020 at 4:56:58 pm

Rookie help? I'm doing editing and VFX work on an indie feature. Using Affinity Photo for some of the graphics and stills, but assume the principal is the same in Photoshop. Offline in Premiere, finish in Resolve.

I'd like to get a graphics colour-space template nailed right from the start, and I was wondering if there are VFX / film editors out there who can advise on feature-film colour-space pipelines please?

We shot live action in raw, so we'll be grading the movie-camera rushes from a log space.

EG in Affinity -> New Document -> Colour profile, I have a long list which includes

P3 D60 Gamma 2.6
P3 D65 Gamma 2.4
P3 D65 Gamma 2.6
Is the P3 colour space what I want?

But my monitor is Acus's ProArt PA329Q, and in the colour space list is "PA329" ... chose that??

Many thanks


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Chris Wright
Re: feature-film colour-space graphics/stills pipeline
on Mar 4, 2020 at 4:21:38 am

Your monitor is either rec. 709 or adobe RGB. if you have it calibrated for one, use that as ODT. The deliverable will determine your final output color. photoshop can do almost any color, but I'd stay away from any non-RGB gamuts like CMYK which can cause problems so I'd convert them all to the project working space as resolve doesn't support .icc profiles.

I'm assuming you're grading the final in resolve. You'd XML from premiere to it, but you'd need to watch out for limitations in XML transfers(speed ramps, transitions, etc). If you were delivering rec. 709, you could use full online renders with scene detection to avoid speed change, transition, and varied framerate video issues. Premiere's project manager can render out framerate conversions. You'd want to do a test of your workflow before 100% committing to it.

Even if you were delivering a DCP, you would never see or use P3 since your monitor doesn't support it. The DCDM conversion will skip P3 and go right from rec. 709 to XYZ gamma 2.6 anyway. During playback of the DCP, the DCP device will determine its own native color gamut(which is usually P3 or rec. 2020) and convert using relative colormetrics accordingly.


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John Hoare
Re: feature-film colour-space graphics/stills pipeline
on Mar 4, 2020 at 6:56:55 am

Many thanks Chris, very useful!
Regards John


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