Announcement

Collapse
No announcement yet.

The RCM Workflow and monitor calibration

Collapse
X
 
  • Filter
  • Time
  • Show
Clear All
new posts

  • The RCM Workflow and monitor calibration

    I watched this YT video on RCM. Is this a workflow most of you uses?

    https://www.youtube.com/watch?v=DGY14ygjpLU


    Also, do you calibrate your monitor for sRGB, both for grading and reference? If not, what profile do you use and how do you insure consistency when delivering your movie? Thanks.

  • #2
    i prefer ACEScct, almost never use YRGB or RCM

    check out Steve Shaw's light illusion website for the basic's on callibration, and the forum there is worth raading and asking Q's, even the most basic begineer Q's are well recived

    Comment


    • #3
      Originally posted by dermot shane View Post
      i prefer ACEScct, almost never use YRGB or RCM

      check out Steve Shaw's light illusion website for the basic's on callibration, and the forum there is worth raading and asking Q's, even the most basic begineer Q's are well recived
      Would recommend ACES as well, it's becoming a widely accept industry standard, helps a lot with interoperability between VFX and grading providing a linear workflow in a well defined colorspace.

      Using ACEScc here. ACEScct crushes shadows although it should help avoiding that actually.
      My website:
      www.55media.net

      Comment


      • #4
        I started with RCM, then ACEScc, and settled on ACEScct version 1.03 when it came to DaVinci Resolve. Heartily endorse it. It’s designed to give an easier shoulder in highlights that’s important to me. I have no complaint about the shadows, but that may be because I’m usually working in midtones and highlights. In my mind, the other indispensable companion to ACEScct, is that you do all your primary colour correction with the log colour wheels (third selection in the drop down menu for primaries). I find that to be much easier. If you shoot raw as I do normally, it’s also a good practice to do the adjustments for temperature and tint in the raw tab before moving to the log wheels.

        As for the monitor, I’d love to set it to P3, but my clients’ world is internet delivery so I stay with Rec.709. Thinking, maybe Inshould go with P3 for my grading anyway and see if anyone complains! Next client project is a wedding, but I have personal projects where I could use P3 to get experience with that.

        Are there any opinions on the wisdom or folly of grading in P3 when most people would view in Rec.709 or sRGB anyway?
        Last edited by rick.lang; 07-10-2018, 07:10 AM.

        Comment


        • #5
          I mean, you can always switch back to Rec709 at the end and add a last node for adjusting contrast and maybe saturation and WB to every clip.
          Should work fine from what I've seen so far.
          My website:
          www.55media.net

          Comment


          • #6
            no a great idea unless you have P3 monitoring, and can assume the viewing audience has that also

            still not a great idea for 99% of the shows anyway as you rarely exceed 709's gammut, so for the hassle of dealing with the weak links in P3 you gain absolutly nothing

            some animation, horror and Bollywood might use the extended gammut, most drama is not even close, comedy as well

            Comment


            • #7
              Thanks for the feedback.

              Comment

              Working...
              X