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The panel is good enough to be calibrated for Rec.709 work, and LG have catered to high end consumer allowing a calibration LUT to be loaded directly in the TV.
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These displays have great quality OLED panels, although they are RGB vs the WRGB of the professional reference displays costing ten times more. The LG C9 and LG CX OLED TV’s can also generate test patterns for calibration. The latest 2020 models are designated LG CX, which have a new alpha 9 generation 3 processor.
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The most cost effective video interfaces are made by Blackmagic Design and AJA.Īs of 2018 one of the best low budget Resolve monitors you could buy for Rec.709 color correction was the LG C8 OLED TV in 55″ and 65″ sizes. The video interface provides the correct video output at the correct video resolution in the correct color space.
#Divergent media scopebox Pc#
This is either a PCIe card that slots into your PC motherboard, or an external interface that plugs into your system via Thunderbolt. Instead, you will need to buy a separate video interface to drive your external Resolve monitor. Video displayed by your computer on the GUI display is not the same as a dedicated video output. This can affect your final output and deliverables that will be viewed on other displays and devices. This is how many of us start our journeys learning the tools, but it’s important to realize that you aren’t looking at a correct picture. Of course you may get away with seeing the image you are correcting on a laptop display or the desktop display of a PC for some time. There will always be small shifts in levels and color that need to be corrected out of the display. Just as no camera is perfect, there is no perfect display either. The second half has to do with correcting any change introduced by the display. Read more about shooting and color correcting with a color chart in my article Shoot and Color Grade FiLMiC LogV2 with the X-Rite ColorChecker Passport Video (the principles shown are universal)Ĭorrecting any change introduced by the camera is only half of this story.This can then be corrected out of the image. When the recorded values for each of these color chips in a video file is compared to the known real world target values indicated on a waveform and vectorscope, the difference between them is the offset, shift or change that the camera system has introduced. The chart is manufactured with precise hue, saturation and reflectance values for each color chip. A video color chart, when illuminated and exposed correctly provides a range of important recorded reference values.Ī typical video color chart includes precise color reference for white (at 90% reflectance), middle grey (at 18% reflectance), black, primary and secondary colors (red, green, blue, yellow, cyan, magenta) and usually a lot more. This is accomplished simply by shooting a physical color chart such as the X-Rite ColorChecker Passport Video. The offset introduced by the camera system first has to be precisely measured. The first step in a color managed workflow is to measure the change, in the form of any slight offset to color or levels the camera has introduced and counter it with an exact opposite offset. The camera system as a whole, including the lens, as well as encoding and image processing have introduced changes in the recorded image. There are the main considerations I will break down.Įither way, there will always be a difference between the light that exposed the camera sensor, and the digital representation of that light recorded to a video file. The improvement of consumer display technology in recent years makes accurate low budget Resolve monitoring possible.
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This is largely thanks to Blackmagic Design for democratizing professional color correction by making DaVinci Resolve free for everyone.
#Divergent media scopebox software#
The cost of the hardware and software needed to manage the video at each point in the pipeline is now more affordable than ever before. However, the accuracy of video displayed on a external monitor is dependent on the correct video signal, and employing a monitor able to reproduce the correct values on screen. These scopes can be software or hardware. This is achieved by correcting the image so that certain reference values (such as those from a color chart) match up to target values on a waveform and vectorscope. Managing color though this pipeline involves correcting any changes and shifts that can creep in between capture and display.Ĭolor correcting captured video happens easily enough in color correction software, such as DaVinci Resolve. This is to ensure that the audience sees the image as closely as possible to what was intended. The goal is simply to manage the representation of color from capture to display. The term color management sounds intimidating but the concept behind it is simple.
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