[Tig] Projector grading for Dummies

C├ędric Lejeune cxl at workflowers.net
Tue Nov 9 01:11:47 GMT 2010


Hi Carl,

here are a few answers for your questions, in text


> Lots of interesting talk about Projector-grading...
>
> Would anyone like to post a summery of what is needed and important when
> doing grading on a Projector?
>
> Subjects including:
>
>
> Screen-size vs distance to colorist / Client. (client in front/behind
> colorist)
>
Mostly a matter of choice. Usually in grading for film out trying to have a
PoV close to a seat in a theater, that can be on the desk next to the
colorist or on a sofa in front, I've also seen behing


> Ft-lambert for 2D / 3D
>
14fL if it's for film/theater output, for 3D around 5


> Ambient light in room? yes/no/how much?
>
Not too much, just a bit of light to see the controls over the panel and for
the client to read and take notes


> 3D grading... what system? Active glasses or polarized? Grade in 3D, or
> start in 2D and then switch to 3D when the basic look is done?
>
Usually you use the system that is most used in your region, I personnally
hate active glasses for their weight and the flicker induced, but technology
evolves, but I also hate silver screen (did I actually say I hate 3D?)


> Projector is used a ONLY image display or are you also using a CRT/LCD?
>
usually you don't want to have different references, but that's a matter of
taste. Remember working in projection induces eyestrain because you have to
accommodate close for system GUI/ far for the screen. Adding another
distance might make that even worse


> (what size/distance/position of secondary display)
> Do you load the LUT on the projector or inside the Grade-system?
>
Only the big digital cinema projector can handle LUTs, or you could set that
in a processing box, just make sure you put it in the place where you have
the best processing (hence not in a HD Link Pro)


> What standard is the projector set to, P3/Rec709....
>
Depends on what you want to do and on the projector.


> What is your target? "Filmout to 35mm"/BroadcastTV/DVD/BluRay...
>
If it's film go print emulation LUT, if it's TV watch it on a monitor and
use the projector just for fun. For calibration use a Colour Mgmt System but
first make sure you understand what it's used for, and talk with the lab if
it's for film out. I do a lot of mediation on that part.


> What do you do if you usually for in a "calibrated Log-workflow, with a
> 3DLUT for the whole chain"... but a clients comes in with a job and whants
> to make an HD-master but also be prepare an HD-version for a possible
> 35mm-copy later (aka doesn't know what posthouse wil do the shootout yet)
>
Several scenarios, I prefer film workflow (print LUT), you can always get a
HD master out from that, and if it needs film out you're quite close, even
if you use a default Kodak2383 profile that comes with every CMS


> If you do the grading in 3D with lets say Dolby3D... do you then "convert"
> the final result into a 2D-version or RealD-version to compensate for any
> tint by glasses in Dolby vs RealD vs 2D? is there a Dolby3D>RealD-LUT?
>
it's not a LUT, mostly an overall adjustment you do over a layer and then
tweak on sequence/shots.


> Anything that you know and think is important (or isn't important)
>
With projection you get what you pay for, there's a lot of stuff that just
isn't there in home theater products.

Hope this helps,

Cedric Lejeune
www.workflowers.net
infrastructure&workflow

>
>


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