Getting REC 709 to a Mac laptop - or anything else for that matter -
requires TWO things.
A monitor profile - which can be created with an iOne or Spyder and
some software PLUS
A LUT that takes that profile and says "Now that I have your monitor
displaying the proper colors, we need to show you what the colors will
look like for an actual OUTPUT device." (Device being Rec 709,
CCIR-601, or another monitor or film stock).
I just did a very, very in-depth color correction training DVD for
Apple Color (4.5 hours of basic + 4.5 hours of advanced training) and
it includes a tutorial on how to do exactly what you're talking about.
However, if you are serious about it, it's going to cost you some cash.
The run of the mill calibrators like the iOnes and Spyders are decent
and my monitor looks MUCH better after JUST the calibration with the
Spyder, but it will take something of a slightly higher level, like
one of the higher end X-Rite probes at about $5,000 to get really
dependable results.
THEN you have to add some software, like the Cinecube Visual 3D LUT
creator from Cinetal (yes, the monitor people), to create the LUT that
turns your monitor into "Rec 709." Using the same piece of software,
you can actually have a computer monitor get pretty close to a
specific video monitor. You can also - through Cinetal's Davio product
- have an "off the shelf" plasma from Best Buy get VERY close to
matching your highend reference monitor. This has great benefits if
you are sending stuff off to a client and you want to ensure that they
are seeing the same thing you are. You can run a DAVIO at both
locations and create a LUT that matches the two monitors in remote
locations. Very cool.
Cinetal also has a program called EqualEyes that takes the monitor
profile and the LUT and applies it to your computer, so that if you
aren't driving the LUT in the video monitor or through a Davio or
through the LUT plug-ins that some programs have, you can still get
proper colors. So you'd need all three things: monitor probe, LUT
creator (Cinecube Visual), and EqualEyes. Though the monitor probe
itself would be a good start.
CineCube Visual has several pre-programmed outputs, like REC 709 or
general film stocks that you can just plug in, or you can probe
another monitor to come up with a LUT OR Cinetal will actually run a
piece of specific film stock through the entire post-production
process with your lab/DI house and create a LUT so that your monitor
looks like the film stock that has actually been run through the
entire exact same development, scanning, output process. So WYSIWYG.
By the way, the DVD training will be out in about six weeks from Class
on Demand. I did it with Bob Sliga, who worked on the Apple Color team
from before they were at Apple (Silicon Color, FinalTouch days), so it
is definitely the most complete and definitive Color training on the
market. I'm really proud of it. It teaches color correction AND the
Apple Color interface.
Plus there's all this additional material including tutorials on
setting up and using a Tangent WAVE panel, special tips on monitoring
waveform and vectorscopes (both internal and Tektronix), calibration
of monitors and creation of 3D LUTS. It cover everything, starting at
that simple moment of "Wow. I opened up this program and it sure looks
way too complicated to me." all the way through advanced tips that
most experienced Color colorists probably don't know...yet.
We even did a cool tutorial on white balancing video and matching
scenes using a little device called a Spyder Cube, which is like a
camera chart on a keychain. You've got to see it to believe it.
Steve "still pimping my sh%t" Hullfish
On Feb 3, 2010, at 12:39 PM, Nathaniel Jencks wrote:
> Ok, I realize that even the subject line of this post will send
> shivers up
> the spine of many on this list... and rightly so.
>
> Understood that the only good way to get a decent rec709 image out
> of media
> composer is to send to an external video monitor via avid hardware,
> Matrox,
> etc.
>
> BUT... we have a mobile system that for mobility purposes cannot be
> attached
> to an external monitor, and we would like to get this "as close as
> possible"
> to what we will see coming out via SDI via avid hardware to a rec709
> display.
>
> So my question for the list is... Is it advisable to use an i1 or
> spyder III
> probe to create an icc profile which makes the LCD to emulate
> (vaguely) a
> rec709 display, or is Media Composer actually assuming that the
> display will
> be a typical sRGB display, and adjusting gamma of the image
> accordingly.
>
> Also, is there a difference in the way MC displays the image via
> Full Screen
> Playback, and when it is simply playingin the record monitor?
>
> I am also (perhaps too optimistically) hoping that since OS 10.6 is
> using a
> native gamma of 2.2 for the OS, that all the 1.8 vs. 2.2 gamma non-
> sense is
> no longer an issue for media composer on snow leopard?
>
> Thanks all!
>
> Best-
>
> -Nat
>
> [Non-text portions of this message have been removed]
>
>
>
[Non-text portions of this message have been removed]
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