[Tig] LUTs from production - how useful are they?
White Peter Mr (EAFA)
Peter.White at uea.ac.uk
Mon May 10 10:37:19 BST 2010
We're not production minded (Archive with 6 SD telecines), and deal with the transfer of archive film to uncompressed data. No LUTs here. We setup our PAL Sony CRT grading monitors using conventional colour bars and ignore the colour shifts on what we've got on the PC LCD monitors. We check the capture cards by applying the same image back to the CRT monitor via the analog outputs. Obviously all of the telecine's are routinely maintained and calibrated too. That's all.
Head of Technical Development
East Anglian Film Archive
From: tig-bounces at colorist.org [tig-bounces at colorist.org] On Behalf Of Bob Kertesz [bob at bluescreen.com]
Sent: 06 May 2010 16:36
To: tig at tig.colorist.org
Subject: Re: [Tig] LUTs from production - how useful are they?
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>I'm looking for some information on how colorists deal with LUTs that are
>generated during production, and brought into the grading suite as (what I'm
>assuming is) a starting point.
So in addressing the question, I've had one private reply, one public reply,
and one private sales pitch.
Then the conversation drifted off into lists of stupid terminology, which I
also contributed to.
Really, are people not using production LUTs, or is this somehow a delicate
subject or something? I would have thought this was the ideal place to ask the
bob at bluescreen.com
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