Peter January 18, 2019 Share January 18, 2019 I'd be interested to hear from anyone at the larger companies who grade for Cinema and Digital. Do you do separate grades for each medium or do you grade in one color space (P3) and switch to another (RGB) for outputting? Would like to hear people workflows. Link to comment Share on other sites
Abby Bader January 18, 2019 Share January 18, 2019 You could grade under an output LUT that transforms your scene into a display space P3/Rec709/PQ etc. That way your corrections doesn't change but it will match the different target displays. A small trim when switching output LUTs could be necessary. Link to comment Share on other sites
Peter January 19, 2019 Author Share January 19, 2019 Where I had RGB, that was supposed to be Rec709! I guess you could add a color space node to the whole timeline instead of individual clips? Link to comment Share on other sites
dermot.shane January 19, 2019 Share January 19, 2019 ACES + trim pass here Link to comment Share on other sites
Craig Harris January 19, 2019 Share January 19, 2019 12 hours ago, dermot.shane said: ACES + trim pass here Hey, Dermot. Can you explain? Link to comment Share on other sites
dermot.shane January 19, 2019 Share January 19, 2019 sure, i set my output to match the display, normaly i'd grade in 709 so screeners are somewhat accurate, the path of least resistance + it's as poor a represantation of the master as i will have to show.... about client managment,, working on HDR or P3 and then sitting down for a trim pass to 709, it just seems sad, grey and gloomy, hard to have love for that, but that''s what most people will be seeing.. so starting with 709, then it only gets better.... when 709 is in a happy place, then set ODT to match proj at P3, and fix what needs to be fixed, tweak what wants to be tweaked rinse and repete for the favored flavors of HDR 1 Link to comment Share on other sites
