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Final Review of Color Correction

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Christopher Marcus
Final Review of Color Correction
on Feb 25, 2014 at 5:56:00 pm

Hello Everyone,

Quick question regarding checking out final work by colorist.

So granted the colorist is using a calibrated monitor, and what they're giving to me looks good on my computer, but it is slightly dark. Obviously because my mac isn't calibrated. This got me thinking how I can ensure the final look will translate well to the theater screen / and or TVs?

Is there any way I can verify this without taking it to an actual theater? I can watch it on my TV, but many TV's have different settings, etc. Should I be putting my settings to anything specific?

I trust the people doing it, but mistakes can always happen. Just thought I'd see if there's a way to check, or if I'm simply at their mercy for having it turn out okay.

Thanks!!



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Juan Salvo
Re: Final Review of Color Correction
on Feb 26, 2014 at 4:03:17 am
Last Edited By Juan Salvo on Feb 26, 2014 at 4:09:34 am

Trust is a funny thing, but it means everything in the color world. Trust is earned from clients by sounding like you know what you're doing and having your work hold up. This is really tricky to do if you don't have calibrated gear and confidence that it's correct.

I prefer always to have clients attend sessions in person. I know my equipment is to spec (we grade in a DCI theater) and my suite is often better calibrated than many exhibition installations. With remote clients we provide several option through which we can support calibrated remote review. Either by partnering with a trusted 3rd party, or specking equipment we know and can trust, or sending a mobile review station.

We do all that so that we can have confidence that the viewing conditions are up to snuff. We have high confidence in those pipelines. But all we can do is grade to spec, and reviewing on random devices isn't going to lead anywhere but off, you'll end up like countless other "colorists" creating content that only ever looks right on one screen.

Either the professional you hired has the right equipment to say with confidence "this is what your image looks like" and the wisdoms to insist you look at it on a display she trusts... Or you don't really know what your image looks like, and likely never will.

Going to some random theater, and screening content not mastered for theatrical distribution isn't likely to improve your confidence. Playing it back on your laptop and on various consumer tvs isn't going to improve your confidence. The thing is you either have confidence it's right, or you don't. But hey, maybe you'll get lucky and find a device that displays kind of the way you want it to look.

http://JuanSalvo.com
http://theColourSpace.com


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Sascha Haber
Re: Final Review of Color Correction
on Feb 26, 2014 at 11:12:04 am

Hi Christopher..

If you are in the position to judge the technical part, you need to get some equipment that is it least 95% accurate.
This is easy..
You need a proper video output first...A Blackmagic MiniMonitor is perfect and cheap.
An EIZO color Edge CG245W for example is next to a Flanders screen the closest thing you can get to a Theater.
Maybe you want to ask your color grader to calibrate your screen...

But be aware, Cinemas also use magic sauce...where I live only one company seems able to produce a perfect digital master, and funny enough that company is owned by the same company that runs the cinemas.

So, if you are happy with the overall color work, the continuity and style I rather suggest to go to a professional place and judge it where the DCP will be made.

A slice of color...

Resolve 10.1.0.021
Colorist / VFX / Aerial footage nerd
http://vimeo.com/saschahaber


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Joseph Owens
Re: Final Review of Color Correction
on Feb 26, 2014 at 8:33:48 pm

[Juan Salvo] "Either by partnering with a trusted 3rd party, or specking equipment we know and can trust, or sending a mobile review station.
"


It is not the same as reviewing an audio mix on "crap" Auratones, the way many engineers used to do to simulate a "worst case" scenario. We can do that, however, by making an AppleTV-compatible H264 and watching it on an iPad.

I am reminded of a "Wizard of ID" color cartoon from the early '80s where Rodney and the King are watching a battle (from a more=than-safe distance, of course). The King asks how things are going. Rodney comments on how the black specs seem to be making progress against the blue specks... so... its pretty much going 'according to the specks.'


jPo

"I always pass on free advice -- its never of any use to me" Oscar Wilde.


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michael stirling
Re: Final Review of Color Correction
on Feb 26, 2014 at 3:45:53 pm

You have to watch it back with the colourist on their calibrated equipment or trust that they have viewed the outputted file (not the project) on their system.

How it looks on other TVs will depend on how near to correct any given person's TV is but they will still want it to look good relative to their normal viewing experience. Robbie Carman (I think it was him) calls this 'But how will this look Grandma's pink TV?' and the answer is if she is used to seeing every correctly made show on her TV with a pink cast, yours needs to be correct in the grade suite as well to have the same pink cast which she will perceive as 'normal' on her TV.

For theatrical output (DCP) we review in our grade suite which isn't in XYZ colorspace and therefore going through a transform for a first pass review which we find is still a good representation of the grade. I then advise them to book a screening in MPC's theatre (I'm in London BTW) as I'm pretty confident in their set up.

Michael


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Christopher Marcus
Re: Final Review of Color Correction
on Feb 28, 2014 at 6:16:05 pm

Thanks for the advice everyone.

I think I'll try to find a place where I can view the completed work if I decide to go this route (remote grading). If I choose to find someone local then this won't be a problem because I can sit next to the colorist and review as mentioned above.

Thanks again everyone,
Christopher



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