Darren Shearer

Input and working colour space conundrum in Baselight For Avid

Recommended Posts

Good morning colour gurus, I noticed yesterday that my input and working color space had changed over to Rec 1886 2.4 Gamma/Rec 709  (from rec 709 video legal) and I had graded a whole sequence already, but wanted to make sure I wasn't making an error in this. For some reason, I like the gamma better in 1886. I am on a typical Avid set-up with a Sony Trimaster at 2.2 gamma.   Is it OK to be using the input and working colour space as  Rec 1886 2.4 Gamma/Rec 709 with "legal full scale" on or off as needed?  

***I have since done some more research and watched the Lukepost tutorial on Baselight Colour Management, and I think now, I just need to figure out my three color spaces as when I set anything but Display Referred, it crunches my shots. Display Referred is the only one that makes no change until I grade it. So, with no real intention of getting someone to tell me how to set this up correctly, using S-log 2 footage (matrix turned on), I would be forever grateful if someone could help sort me out on this as I really migrating all my studio's grading over to Baselight and want to make sure I am setting up correctly.

Thanks in advance  for your help!


Edited by Darren Shearer
Got some more information on the topic
Link to comment
Share on other sites

Hi Darren,

for 709 footage, you can keep all colour spaces on 'Rec.1886: 2.4 Gamma / Rec.709'. This will then give you a classic video grading pipeline.
The more modern approach would be a scene-referred grading workflow:
InputCS: According to the footage
WorkingCS: e.g. T-Log / E-Gamut 
DRT: e.g. TruelightCAMv2
CursorCS: Rec.1886

'Legal to Full' and 'Full to Legal' in the cursor should be set according to the footage and Avid project settings. Most people have a legal range project in Avid, that means you should set the cursor to 'Full to Legal' in Baselight for Avid. 'Legal to Full' can be turned off for certain shots. 

I hope this is helpful.

Link to comment
Share on other sites

Thank you Andy.  Once again, most helpful.  I still need to work out the exact Sony S-Log 2 (Matrix on) camera profile to use the scene-referred workflow (you had given me some direction and even a profile for this a while back). My studio should be switching to S-Log 3 soon, which will make things much simpler!

Thanks again. I really appreciate the personal attention you and the Filmlight crew give for these things.



Link to comment
Share on other sites

Join the conversation

You can post now and register later. If you have an account, sign in now to post with your account.
Note: Your post will require moderator approval before it will be visible.

Reply to this topic...

×   Pasted as rich text.   Paste as plain text instead

  Only 75 emoji are allowed.

×   Your link has been automatically embedded.   Display as a link instead

×   Your previous content has been restored.   Clear editor

×   You cannot paste images directly. Upload or insert images from URL.