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The guidelines provided below will need to be adopted by each contributor to the Netflix Digital Supply Chain, to ensure consistent quality. The wide variety of display types and viewing environments can lead to inconsistent quality results, unless a set of guidelines is put into practice which adhere to a common standard. Netflix’s own Calibration Best Practices document spells out the goal of what we’re trying to achieve quite nicely: The Goal of Colour Management in Post Production #APPLY A LUT DAVINCI RESOLVE NOT THE HOLE CLIP FULL#You also need a monitor that is reliably capable of displaying the full colour gamut of the colour space you are working in.īefore you jet out of here, scroll to the very bottom of this post to read the ‘One last thing’ section, on why you really do need a large external monitor. #APPLY A LUT DAVINCI RESOLVE NOT THE HOLE CLIP SOFTWARE#To ensure a reliable colour pipeline from the software to the monitor you are advised to use an IO device, like an AJA T-Tap or Blackmagic Design Mini Monitor (or greater if you need 4K), so that your operating system or graphics card aren’t interfering with delivering a clean signal from the footage to the monitor via SDI or HDMI. So if you’re grading on a computer monitor, delivering for the web then set and calibrate the monitor to sRGB Gamma 2.2. ![]() For example, if you’re delivering for web to sRGB or if you’re delivering for broadcast Rec. Switch between calibrated profiles depending on the delivery requirements of the project. Grade within the spec of the standard and then anyone who sets their monitor/TV to the same standard, should see it as you intended. The crux of post is to set your monitor to the calibrated colour profile that matches the standard you are delivering in. I don’t want to read all this – just give me the answer! That said, any errors in here are entirely my own and I’ll happily be corrected and informed by more learned opinions, in the comments. ![]() In putting this post together the excellent content created by the three professional colorists behind (Robbie Carman, Patrick Inhofer and Dan Moran) was instrumental to defining my answers to much of this, as well as some key insights from Michael Kammes and his 5 Things Web series and Samuel Bilodeau of. When I’m researching something like this I prefer to hear from professionals who demonstrate that they know what they’re talking about – both in theory and real world applications. Of course, the kind of work you’re doing and the resources you have at your disposal will somewhat dictate how far down the rabbit hole you need/want/can go. If you’re wrestling with some of these questions too, then hopefully I can provide some answers, or at least an interesting technical read.Īs I wrote this post I soon discovered that when you really dig into colour management it’s one of those technical rabbit holes that some people love (people who comment in forums) and some people don’t have time for (getting into the depths of nuance).
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