What was the source material shot on? That may give you an indication as to what you should use. I've done work for Netflix using the YCbCr 709 project. The Netflix delivery specs indicate BT. 709 10 bit so that project worked fine for me especially since my source material was AVC-Intra YUV 422 10 bit shot on Panasonic Varicam 35 cameras. Given that source material an RGB 709 project would have been overkill. I will admit that the myriad of project choices and now color spaces is confusing and overwhelming. Given all my terminal gear is Rec 709 color space the 20/20 projects etc... can't work in my environment as I have no way to monitor them properly.
My limited understanding in this arena is the newer Tektronix scopes can be set to 20/20 color space mode and certain monitors have these other color spaces as options. It all comes down to 700 millivolts but it's how the data gets matrixed that changes. These other color spaces offer greater color gamuts but in some cases these new formats gamut ranges exceed any real display devices at present time.
---In Avid-L2@yahoogroups.com, <pepe.serventi@...> wrote :
I'm just about to online a UHD Netflix show on the Symphony. I will be doing color as well on the symphony. I have never finished a UHD show before. I noticed there are a whole bunch of options when it comes to picking the color space in the project. Which one do I use. YCbCr 709 is what I've always used for HD. I checked the meta data on the source cameras and they are set to YCbCr.. I read some where that I should use RGB709. Any info would be greatly appreciated.
Using Symphony Version 8.6.1
Posted by: bigfish@pacbell.net
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