Lowepost

Thanks for your kind words Julien!

You do not have to bring your PFE LUT into a color managed environment to make the reference. Simply add the LUT to a Grey Scale with no color transforms applied at all, and the result you see on the Waveform will be what you want to recreate. Save a still so that you have a reference.

Then you'll have to set up your color managed workflow with the transform curve you want, and project it onto the Waveform. From there on you can use your reference still and the curve operator to make an "offset" that basically will be the difference between your reference and the color managed display curve.

On 1/28/2023 at 8:11 AM, Ryan Moser said:

I figured I should mention that the quote from Matthew Tomlinson should be corrected as he works at Harbor Picture Company and not Picture Shop.

Thanks Ryan!

On 1/25/2023 at 10:49 AM, Michael Tebinka said:

Are there any newcomers on the market now in the beginning of 2023 that could/should be considered both from FSI/Eizo/others?

The DM220 (HD) is FSI's new 22” OLED, the DM 240 is no longer in production. Mixed feedback on the Eizos. 

12 hours ago, Kenny Mosher said:

Will CST's be included in the LUT when using this method? Thanks

Yes!

2 minutes ago, Stan Allende said:

On those links I only see how you powered the IDX mount and the DXA RED, not the ZCAM itself... am I missing something?

We used the cable between the ZCAM and the IDX-mount, and the battery attached to the IDX-mount powered the camera. 

On 8/22/2022 at 2:35 PM, Stan Allende said:

Great Rig.
I was wondering which cable are you using to power the camera? I bought the Alvin's cables Zcam E2 Camera Power Cable 4-pin angle to D-Tap but it doesn't fit with the Zback (the cable is in the way of the cage). I see there is one right angled, maybe that one is the way to go? 

Hi Stan, thanks! Have a look at the cable link below the "cable management" section, that's the one we used.

58 minutes ago, Jonathan Martin said:

This is a very naive question – apologies in advance... But what would be the correct way to apply this method to color correcting flat/log film scans, in terms of colour management in Resolve? What would you select as input and output gammas?

In Resolve YRGB Color Management set the input to you camera and output to rec709 2.4, and the printer lights will be applied in camera space (log).

6 hours ago, Fady melek said:

It would be great to discuss if QT and DNX files are expected to be full range or legal range or both. There has been a long debate about proress 444 being full or legal or both. Also different systems render out prores differently. I was told by baselight team that all prores are expected to be legal. However, i heared davinci renders prores 4444  as full range.

Challenge accepted.

You basically answered your own question. Printer point corrections for film affect the whole image with no separation of lift, gamma or gain. There are ways to adjust "lift" or black levels and "gain" in the photo chemical process by using flashing techniques, different print stocks or film processing adjustments but this would be a global correction to a full roll of film and would be difficult to apply shot by shot.

Jim Passon

8 hours ago, Nicolas Hanson said:

Hi Jim, thank you for this introduction to color timing. Is it possible to affect only lift, gamma, or gain with printer points?

It is possible to apply a simulated 50 printer point scale to the lift, gamma and gain controls in digital grading but this would not be the same as printer point corrections on film where there is no separation for lift, gamma and gain, only density and color balance. 

Jim Passon