[Tig] Post your movies on Tig
raamw3rk at gmail.com
Mon Feb 6 06:58:16 GMT 2012
Did my main post about "Shock Head Soul" get through to the list this time?
I didn't receive it through the list.
The moire in the 5D material showed up in high-frequency detail as you'd
expect. In other projects I've had problems with a tweed woven fabric on a
couch, but this time it was just on a couple of shots of the female lead
actress' hair. The thin lines of the hair caused some blue/red chroma
blocking in the hair. I selected that area with a mask and basically made
it monochrome in the right tint to remove the coloured blocks. If you look
closely there's still some artefacting there but nothing that draws
attention onto itself.
This was only the second feature film I graded. For the first one I
calibrated the projector (RS-60) to P3 colour space which worked fine, but
I couldn't quite get 14 ftl out of it and it didn't fully cover the most
saturated ends of the colour space which could have led to surprises in the
conversion to P3. It didn't though.
So for this project I calibrated to Rec709 for which the DCP company has a
I'm aware of the different opinions as to which is best for a DCP release:
working to P3 or Rec709. I don't have a very strong preference at the
moment. Rec709 fits within P3 so you'd start out with the smallest gamut to
avoid clipping later on. But there's also something to be said for starting
with the widest gamut and doing a trim pass. Both scenarios have worked out
fine for me, with my curent projector having a bit more power in Rec709.
Like I mentioned the grain added in the end wasn't so much for esthetic
reasons since we put so little in it that it was hardly visible. So it
served more as a safety against banding when someone down the line would be
reducing to 8-bit. There was no banding in the denoised source material
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