[Tig] various questions from U.S. authority (Film Master)

Rob Lingelbach rob at colorist.org
Sun Sep 4 07:39:32 BST 2011

== Work flows for grading 2K and 4K archival film source material using Film Master ==

I am a new TIG member and I work at the National Archives and Records Administration (NARA) as a Motion Picture Preservationist. I will be honest and say that I do not have a colorist background but I am somewhat familiar with the basic fundamentals. I was hoping there were some colorists on the wiki who are familiar with Digital Vision's Film Master. I am interested in finding if anyone has discovered a colorist work flow that is ideally suited for 16mm and 35mm archival film source material (dating from the 1940’s through the 1970’s) using Film Master. Here is a little background on what we are doing: NARA is using a 2K/4K SPIRIT datacine to scan 16mm (at 2K) and 35mm (at 4K) to DPX as log RGB 4:4:4 10 bit full dynamic range (0 to 1023). These raw one-lite DPX files will be permanently retained and serve as a digital preservation master for those films that we can no longer photo-chemically preserve. Clones of the raw DPX files are ingested into Film Master for grading, color correction, dust busting, etc. Since NARA can only manage and service an uncompressed HD 1080p video file on our servers for broadcast quality access I figure I need to grade the clone files for HD output. Unfortunately, a corrected 2K and 4K version will not be retained because of internal storage and network limitations and NARA will not be making film outs of either the corrected or the raw DPX files. This is where the colorist work flow questions come in: 

1. For those that are familiar with Film Master, what would folks suggest as the best color scaling options to base a project on considering my source material and output needs? The options include Linear (SMPTE), Linear Computer Generated Render (CGR), Film Log and Video Log? Each of these have different scaling and color pivot points. 
2. I was also interested in obtaining additional information on the difference between the CMS burn-in functionality in the software? I heard from someone at Digital Vision that the CMS is designed to simulate the process of going to film. If that is true and since I am not doing a film out, do I need to use the CMS in Film Master for anything?
3. This is a more general colorist question: I am also assuming that I need to scale the 2K and 4K image from a log 0-1023 range to SMPTE linear legal range of 64-940. Can I do this without a LUT? If not, are most colorists using the cineSpace LUT?
4. Finally, since my output needs are for HD video, is the Rec. 709 color space preferred over SMPTE C color space on the grading monitor? 
Thanks for taking the time to read through all of this. I know it’s a lot but I have been saving up my questions. I certainly welcome all responses and appreciate any suggestions that anyone may wish to offer.



Rob Lingelbach   Senior Colorist, Dolby Laboratories
rob at colorist.org http://rob.colorist.org

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