[Tig] some things to consider when designing a timing environs

Lou Levinson joe.beats at yahoo.com
Sat Jan 29 18:54:22 GMT 2011


folks,
 some things to remember when stressing out about getting to exactly %18 grey or "neutral"
          it's probably more important, and makes for a less stressful working environs, to           make sure that whatever neutral backdrop you have fills the field of vision of the          viewers out past their peripheral vision in a way that has the fewest visual          "discontinuities" ( seams, corners, shadows, ect), than whether or not it's exactly          at d65 at %18 grey. the focus is supposed to be on the work, not the wall.          there will be factors that cause compromise, such as the acoustic properties of the          fabric used so speakers can be hidden, ect.
          also, keep in mind that the nature of the work may dictate a change in room          illumination. i've used two primary room illuminant levels, with the same d65          target "color". one low level, for theatrical work, and one quite a bit higher for          commercial, tv and trailers for tv work. this also requires a different setup for          black cutoff as setting this parameter correctly is far and away the most          sensitive to room light levels
          also note that some of this will be inapplicable to a theater design as i doubt you'd          get a useful contrast ratio on a projection screen with a grey surround.
          for future considerations, ampas, especially with IIF/Aces seems to be moving          towards d60 white. this would work fine in the environs we're talking about even          if you did it now. the important part is the "d" for daylight.
                                                                                                  lou
         an impromptu poll: how many colorists out here see the dci white point as          actually being white??


      


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