Browsing Tag
Rec. 709
13 posts
ColorEdge CS3200X review: The EIZO feeling without the colourist tax?
Two weeks with EIZO's new 31.5-inch CS3200X reveal a colour-accurate 4K production monitor that retains much of the CG experience at roughly a thrid of the price. How?
The Right Colours Without a Computer
SpyderPro exports a 33-point correction LUT, but you want one compact converter to apply it between SDI gear and an HDMI display.
Adobe brings Color mode to Premiere beta
Premiere beta gets Color mode: new grading controls, Operations, Clip Grid, and color management that tries to keep editors in flow.
EIZO ColorEdge CS3200X adds 31.5-inch 4K
A new 31.5-inch 4K ColorEdge lands with wide-gamut presets, HDR targets, and one-cable USB-C power for tidy desks and tidy color.
LUTs, Tags, or ICC: Getting Colours Right in Resolve on a Mac
For years, proper monitoring in DaVinci Resolve meant a Blackmagic I/O box and a calibrated display. On recent Macs, Resolve has become more predictable without dedicated hardware, but that does not make calibration optional. Here is where the situation has improved, where it still falls apart, and why Rec.709 scene remains the least bad common denominator.
Nobe OmniScope is a Live Act now!
OmniScope LivePack turns your scopes rig into a live-friendly sidekick, with SDI out, Livegrade hookup, and recordings that behave. Really? We run it through its paces!
We have to talk about Switchlight 2.0
Beeble’s SwitchLight 2.0 turns raw plates into PBR maps that can be relit like CG. Now trained on 13× more data and extended to full-scene maps, not just the subject. We spoke with co-founder Hoon Kim about what’s new, how it’s priced, and where 3.0 is headed.
Calibration for less – Part 3
Part 3 of the "Calibration for Less" series - we get into the settings with DisplayCal, Connect Software, Hardware and Wetware, and are chasing the elusive perfect colours!
CineMon 1.0: Correcting the Signal
Let's talk about using low-cost HDMI video capture devices for accurate signal representation, particularly with log formats like S-log3. And also the development and application of a correction LUT using Resolve to enhance the accuracy of color and luminance.
CineMon 1.0 (Beta) for iPad and Mac
The times of expensive hardware-based scopes are gone. Modern software scopes are versatile, flexible, and can be adapted to new technologies. Until now, Nobe OmniScope by Time in Pixels was the leading solution, both under Windows and MacOS. But there’s a new kid on the block for MacOS and iOS now, called CineMon (with a charming agnomination to a popular spice).
Datacolor SpyderX in test
Colour correction is playing an increasingly important role in media production, not least because more and more recordings are being made in flat LOG formats to give colour correction more leeway. As a result, the need for calibrated monitoring is increasing, partly already on-set, but at the latest in post-production. If you want to have more control over the deliverable quality, reference displays are indispensable in post-production. Otherwise you are quickly exposed to discussions and uncertainty spreads among everyone involved.
ACES – Control over the primaries at last!
For many CG artists, discussions about colour spaces and colour pipelines are a tedious part of their work. However, the basic rule applies: only those who know and can use their digital colour palette will make the technically correct decisions in the creative process. For an accurate work process, it is therefore necessary to know the pipeline in order to produce controlled results.
IMF – and what it’s all about
IMF - Interoperable Mastering Format - has been around for a few years now. After a somewhat slow start, however, IMF experienced a boom at the beginning of 2O16 at the latest, when Netflix made it its main delivery format. What IMF is and what it is supposed to be good for, however, is still largely unknown to the broad masses of the media industry. This article is intended to provide a brief introduction to the format, shedding some light on its peculiarities and advantages as well as the costs involved. As the cover image suggests, this article will not be a colourful creative experience - but have fun anyway.
