It doesn't help though for viewing the file on a Mac after export. On a Mac Retina, with DCM on, the image normally looks pretty appropriate for a Rec.709 clip. Adobe then came up with the "display color management" option as a way to get the app to look at the ICC profiles of the monitors used and attempt to remap the image within PrPro to correct Rec.709 standards. ![]() So there was an issue with the ColorSync on Macs with the Retina monitors. The Rec.709 broadcast standard PrPro is setup to use period is 2.4. What ColorSync applies in reality has been reverse-engineered to either 1.95 or 1.96 depending on who does the measuring. ![]() No one knows what "sRGB gamma" is from any standard though. Different OS do things differently, as for example Apple's ColorSync color managment app uses what they call "sRGB gamma" for Rec.709 media. ![]() I got schooled by the colorists I now work for.Ĭolor management is a morass, really. Very counter-intuitive, and like nearly everybody else, I got this wrong starting out. For almost all video media, one should leave the video card settings for 'full/legal' (the 0-255/16-235 stuff) either on auto (as in Resolve) or set to 16-235.Which sounds odd, but it DOESN'T mean the monitor will display Rec.709 media 16-235, but it will accept Rec.709 media as 16-235 mapped in the file (which it is) and display it as 0-255 on the screen.
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