When I do color correction all day I start with the scope to get blacks black and whites white based on vector parade and diamond display on a Tek scope. Then a twiddle with mids/gamma. Then I look at the monitor. This seems like a common approach used by many colorists I know. This also similar to what happens when "Chipping" cameras on set and also how telecine transfers are done. Once you've got it "Graded" then you tweak for a look or desired effect. most of my work is to just get it looking "real". So as mentioned by Dennis I'm curious how others treat dark scenes. The discription of the soap opera where the table lamp was the only thing around 100 percent lumanince is how I usually approach dark scenes too. Also when there isn't things in an image that are black I still try and get the setup close to 0. Of course that's a judgement call but it seems like the more I can spread the dynamic range the better and the brain seems to like it. Really interested in how others approach this.
--- In Avid-L2@yahoogroups.com, "Terence Curren" <tcurren@...> wrote:
>
> The problem is your eye automatically adjust all day long. So relying on what your brain tells you the color on your monitor is sounds like a recipe for disaster. Is that white really white?
>
> --- In Avid-L2@yahoogroups.com, Dennis Degan <DennyD1@> wrote:
>
>
> <<Use your eyes to tell you what looks right on that monitor,
> > THEN check your scopes to make sure you're good. It seems odd for me
> > (a technician) to be saying this, but I believe that art comes before
> > technology. It should look good to your eye before you question its
> > technical 'correctness'.>>
>
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