[Tig] Canon 4K monitor

Richard Kirk richard at filmlight.ltd.uk
Sat Jan 25 11:29:26 GMT 2014

On 25 Jan 2014, at 01:20, tig-request at colorist.org wrote:

> Date: Fri, 24 Jan 2014 16:28:52 -0800
> From: Robert Frye <bcfrye at earthlink.net>
> To: Bob Friesenhahn <bfriesen at simple.dallas.tx.us>
> Cc: "tig at colorist.org" <tig at colorist.org>
> Subject: Re: [Tig] Canon 4K monitor
> Bob - 
> Absolutely - what was the common figure?  2 - 3 screen height was the proper distance to view a monitor.  In Japan, during our early prototype reveals of the PRM, we discovered that the colorists there typically sit 1 to 1 & 1/2 screen heights away... due mostly to the smaller rooms they work in? but interestingly enough, that's now the preferred 4K viewing distance!
> We always recommended the surround walls to be 18% gray (grey??) for the best and most neutral color interpretation on screen.  Although you can imagine the variation in this that we found as we toured many different grading facilities around the world !!
> And yes, once the monitor dominates the field of view, the surround becomes more a part of the colorist's peripheral vision and less affecting of their color perception on screen.
> That doesn't mean we can have odd-ball colors in the surround walls of course :)   I'd bet even on the periphery, colors other than 18% gray will have some effect on the viewer.

If the colourists are actually looking at the screen that close, they could always display a picture of a monitor against an 18% grey wall, and drop their original 2K image into the picture of the monitor.

Seriously, though - if they are going towards the immersive 60-degree surrounds then there is less need for a dynamic 2000:1 ratio, as there will be a percent or so of the total light that came in through the pupil bouncing around in the eye. Thus usually stops us being able to distinguish black form a uniform dark grey, We only notice it for odd non-image-y things such as the grey surround when viewing a letterbox format against the black monitor frame. 

What are they doing when they are looking this close? Are their heads more or less fixed like a conventional cinema goer, or do they move their heads to follow action like an IMAX viewer? Or do they just move their heads when looking at detail, and keep their heads still when judging the overall colour?

I am sure this affects grading, but it is harder to quantify how it affects it. If the average viewer is changing their standard viewing habits, then this is something we will have to compensate for. However, if the image is filling more of the screen then the surround is less critical for action in the centre, but...

Oh, this is going to be complicated. 

Richard Kirk

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