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Colour Testing (LCDvsTV) how do you do it?

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Colour Testing (LCDvsTV) how do you do it?

well how do you guys test your colours for television? our LCDs show quite vivid colours which dont quite translate on for tv.
also what do you guys do otherwise? correct colours during ink and paint? or just do what you have to do and then colour correct during post prod?

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Sumaidh Shah

This is only an idea but I bought a color strip to use when I start working with color. I plan to use it with my camera and scanning pictures, so I will have a reference guide while I am moving my stuff around: Print, Computer Screen, Television.

but what about post production colour adjustment/

colour and tv

this has always been a big problem for any production. If you are doing your colours in the digital world it's best not to judge by what you see on the screen but by the RGB values. If it is being painted you should be able to get a palet from someone like Cartoon Colour. Something that has already been tested.
Booth can be a bit problematic. I'll not bore you with too much technobabble but.. It is a safe rule of thumb never to have an RGB value go below 6 or above 245. This is due in part as to how video editing platforms will re-interpet RGB values to a broadcast norm, which has its own way of interpreting colours. For instance if you want a white you should do something like 245/245/245. It may not look right on your monitor but when used in the Avid or Final cut environment it gets expanded to look like 100% white. 6/6/6 will look like true black.
Not all editing systems are exactly alike but this is a safe rule of thumb to follow. I think the image environment for broadcast has a title like ccir 601. This works for both PAL and NTSC. RGB values don't quite fall into the same curve as to these standards so for whatever reason the colours get slightly expanded.
You should try and do a few tests, if you know someone with an edit system and a broadcast monitor. You'll then need to check both the vector scope and IRE monitors to see what the upper limit may be. Vector scopes look at chromanance( colour ) and IRE look at lumanace( brightness ). Find someone who knows about these things and do some quick tests. It can save you loads of money later on.
If you try and fix specific colours later in post you can't! You will only be able to effect them all at once. Edit systems can't isolate specific colours unless you want to pay for a system like the ones used in Lord of the Rings and such films. That would end up being in the thousands!

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while i did understand bits of what you said. how would this work for someone who uses Flash or ToonBoom. ???

colour

while i did understand bits of what you said. how would this work for someone who uses Flash or ToonBoom. ???

It would work the same if you are going to be broadcasting it. This rule applies for any digital software, photoshop, illustrator and so on. If it is only for the web then there isn't any point to trying to callibrate monitors. Just go with RGB values.

The only thing to do with good advice is to pass it on. It is never of any use to oneself. My Blog: Strange Thoughts

Am I right when I say, depending on what media we are going to publish, defines how we adjust the color pallet. Television, Computer monitor, Print, and Screen printing should each have their own pallet.

Am I right when I say, depending on what media we are going to publish, defines how we adjust the color pallet. Television, Computer monitor, Print, and Screen printing should each have their own pallet.

Yes I would have to agree with that. Even and maybe especialy theatrical too.

The only thing to do with good advice is to pass it on. It is never of any use to oneself. My Blog: Strange Thoughts

does anyone know where the waveform colour test option is in Premiere or in After Effects and how accurate they are.
thanx

Just a side note to this discussion. I've spoken with some friends who, we'll just say, "are in the know". The news in the industry is that CRT's are being phased out by the manufacturers (ie. are going to be extinct eventually, or at least hard to come by). As a result, the big FX/animation companies are buying them up as fast as possible as a stock pile for their compositors and colorists.

Intersting times...

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