The 2nd one (with only the white point shift) didn't do what i expected. ![]() a last one with the RGB coordinates of my projector and his white point to DCI XYZ (i know that compared to DCI P3, my red is quite good but blue and green are a bit under the DCI P3 colorspace, i don't achieve to bring them on the theoric DCI P3 values)Ĭonclusion, the 3rd LUT is the good one for me, it brings back the saturation and the warmth of the picture to what i saw in my grading room. a DCI P3 to DCI XYZ LUT but i shifted the white point of the DCI P3 to be the one i have in my grading roomģ. ![]() a simple DCI P3 to DCI XYZ LUT (i knew that with this one my image in the theater was a bit warmer than in my grading room)Ģ. I prepared 3 differents tests with 3 different luts created within the colorspace conversion of lightspace.ġ. I just come from my tests in the theater this morning with the DOP a the movie. Thanks for your input! For me, this means that i have to go back (once again) into the theory of probes, i realize that, for now, i don't have enough knowledges on this subject. what about the third DCI template in lightspace : the DCI XYZ? I understood that it does the XYZ conversion, but what does become the white point ? Is there areas (like PAL SECAM and NTSC) where DCI D55 is advocated instead of DCI D65? does anyone experience this kind of white point shift in their reference theaters? Here is my guess : Since there is this 2 type of standarts, 5900K is just in the middle of 5500K-6300K, this is the best way no to disturb anyone since there are states that use one of the standart instead of the other. In lightspace, there is 2 kind of DCI, the D55 and the D65 (i work with the D65, by the way, why do we call it DCI D65 since the white point is 6300K.). I have to tell, that this guy didn't seem to be unexperienced at all, i'm curently waiting for his input about this post. He told me that the white point for the calibration was x 0.314 y 0.351 : 6300K So, i was happy, this explains the wamer picture.īut.by chance, the theater was calibrated a few days before i came for my tests, and i was able to speak to the guy who was doing the calibration. Results : gamma 2.6 : correct, gammut correct and.white point : x 0.322 and y 0.362 which corresponds to approximatively 5900K whereas DCI white point is about 6300K. So I mesured in this theater the with point, gamma and gammut with a bunch of patches. Happy with the contrast, i just noticed that my picture was a bit warmer. white point is (quite close to) x 0.314 y 0.351 mesured with lightspace and a Hubble probe, as the DCI spec says. Ok, this is one of my first experiences, where i have to create a DCP after grading. thanks steve for building this space, It has been almost a year i'm documenting over the web, trying to find answers, i just collected more and more uncertainties. Our team has also installed the latest ACES color pipeline so it is ensured that the grading of every project will happen in the most perfect conditions complying with the latest post production standards.First of all. ![]() The new Baselight color grading suite of Galaxy Studios is equipped with a 5.30 meter wide film screen and a Barco DP4k-P digital cinema projector fully calibrated to the SMPTE DCI reference specifications. Whenever a projects needs to be finished in 4K or 2K resolution, in 2D or in stereoscopic 3D, the new color grading suite of Galaxy Studios can handle it. The “Baselight 2” grading suite with the latest software releases and technical support, enables a colorist to finish any theatrical and broadcast project in the most ideal environment for color grading possible today. For this reason we recently opened a second luxurious color grading suite in our post production facility. Because of the flourishing Belgian Tax Shelter incentive for motion picture the demand for post production and color grading suites at Galaxy Studios is booming.
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