[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index]
Dave Corbitt wrote;
> The wall directly behind the monitor can be
>illuminated by a soft spill of light from a 6500 K source no brighter than
>10-15% brightness value of full 100% white on the monitor.
In the age of the dimmable flourescent ballast, I think you will find that
many facilities run a dimmer on the wall backsplash. Many of the more
sophisticated dimmers such as those by Lutron, have programmable "scenes"
that can be used for different room lighting combinations. I have not tried
this technique personally, but I understand that many of these lighting
scenes can be triggered from a GPI source like a daVinci, and recalled on a
session by session basis. Wouldnt it be great if the other bays in your
facility could recall these values for other sessions down the hall?
Preserving your lighting scene set during color correction?
I also realize that the figure of 10-15% relative brightness value of the
backsplash is very subjective in relation to the actual splash material. I
have found that running at a higher value reduces eyestrain over long
periods of time, however, for critical color correction it clearly is better
to run in the SMPTE recommended range. A little common sense would seem to
be in order, if your doing unsupervised daily work and you like the large
amounts of ambient that I do, then knock yourself out. Conversely, if your
in a room full of color wizards, bring it on down so you can see whats
hiding in those blacks.
I have also noticed that as the Sony 1900 series matures, those first 1910's
you had as a kid dont look the same as the latter models of today.
Overstating the obvious.
Bob Festa festa at earthlink.net
Director of Telecine www.hollydig.com/talent/telecine/festa2.htm
Hollywood Digital festa at hollydig.com
6690 Sunset Blvd
Hollywood, Ca 90028 213 465 0101