Graphics Reference
In-Depth Information
has an SDI to HDMI converter box that allows calibration of a consumer
monitor. Instructions for calibration are included with the device.
At the higher end, the manufacturer Cine-tal has created a small
box, called the Davio. A software application runs the Davio hardware
and allows any monitor, even a consumer monitor, to be calibrated and
matched to another monitor or to a specification. All of the calibration is
done automatically and only takes a few minutes.
This type of device (or some kind of LUT box) is really necessary to get
the most accurate color reproduction from your monitor. Simply adjust-
ing the brightness, contrast, hue, and saturation on your monitor will not
deliver dependable results. Instructions on using these devices for moni-
tor calibration vary and are provided by the manufacturers. Entire semi-
nar series are devoted to the topic of color management, so it's outside the
scope of this topic to provide it.
For serious color correction, consulting firms can be hired to set up
your suite, making sure that the image is accurate at each stage of the
postproduction process, creating a workflow that guarantees the integrity
of the image throughout the process.
Viewing Environment
The viewing environment is also of critical importance. The lighting in
a color-critical environment is daylight balanced, not tungsten. There
is some debate over the exact temperature of “daylight,” but it's about
6000-6500K. The daylight-balanced light is often used only as
reflected
light as opposed to
direct
light. For example, it is bounced off of a back wall
behind the monitor. It is also fairly dim. The eCinema displays we used
for most of the color correction sessions come with a separate, external,
daylight-balanced backlight that actually matches the light used inside
the monitor itself. It is designed to be placed behind the monitor, bounc-
ing light onto the wall behind it. The light bouncing off the wall behind
the monitor should be one-tenth the intensity the monitor when display-
ing 100 percent white.
Any additional lighting in the room can't increase this brightness
level. The light sources should be 6500K bulbs or be filtered to reach that
temperature. This color value is often referred to as D65. The “D” refers
to daylight; “65” refers to 6,500 Kelvin. Actually D65's exact Kelvin rat-
ing is 6503.6. The actual color of daylight varies. D65 represents the color
temperature at high noon in the northern sky.
No bulbs or light sources should be visible to the colorist's eyes while
grading. Some color correction suites have a bulb near the colorist's desk
that sends a beam of pure 6500K light to a small white card or tile near
the colorist to act as a reference for pure white. This light can be turned
on or off independently from the other lights in the room.
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