[Tig] workflow on "trim passes"

Rob Lingelbach rob at colorist.org
Thu Nov 11 21:40:35 GMT 2010


On Nov 11, 2010, at 1:16 PM, Bob Festa wrote:

>  I like to feature grade in the DI theatre, and then move all of my deliverables 'offline' to another Truelight equipped Baselight suite where I can view in HD, QT, or whatever. Also handy for shooting those Panasonic plasmas we are so fond of.

Hi Bob, it would seem that you're saying you don't really need the Baselight in that second suite- because the trim pass is a relic- though then one realizes that there are things one might want to do....  I normally need to help the 'challenged' (less than P3 at other dynamic ranges) grades in ways that make up for their shortcomings.  A little of that can be done with the Truelight or other LUT generator, but sometimes the masks and contrast need intervention for the colorist who knows that a full range grey scale at 709 could be undesirable in a certain shot, and needs to drop the blacks on the floor and throw the highlights up to the ceiling.  

> Having said all of that, I'm not beyond giving the piece a nudge one way or another globally, if necessary. But thankfully, the days of a 8 hour trim pass seem to be history.

2 colorists, working side by side with some kind of gentle isolation, one in P3 and the other in 709, with the client able to switch back and forth... though if it's left to me alone (no second colorist) I would find it easier to divide the mode in time more coarsely, taking a day in P3 at 600 nits before going to the next day at 125 nits 709, before the next day in DCI.  It's difficult to work in parallel between different colorspaces, for colorist and client.

--
Rob Lingelbach
rob at colorist.org     http://rob.colorist.org





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