Mixing Light Color Correction Podcast Series

Moving From A Direct View Monitor To The Cinema

March 20, 2018

In this installment of From The MailBag, Team Mixing Light discusses a member question about moving a grade from their direct view monitor to the cinema - we discuss many aspects of this workflow and why overcomplicating things is a bad idea!


Should You Change Your Direct View Monitor To ‘Mimic’ The Cinema?

Grading a project for theatrical release is a hope/dream of many colorists.

The truth is, there is something magical about seeing a project on a 30ft screen – part nostalgia, part sheer size – a project on the silver screen has its own allure.

Assuming you don’t have a grading theater with a DCI calibrated projector, how do you accurately get your projects to the cinema?

Recently, we got a question from a member who’d like to remain anonymous about moving a project from their direct view setup to the cinema:

‘The standard for cinema is 14 Foot-Lamberts, as you know. To achieve the exact specs on a monitor, should it be 14 FL and P3 color? When I set my monitor to 14 FL to achieve the standard, content looks far darker than a 14 FL cinema screen. Why is that?’

There is a lot to discuss in these questions!

In this installment of the Mailbag, we discuss the member’s questions and why trusting standards and DCP tools is a smart way to handle these situations.

Got a question or something you’d like Team Mixing Light to discuss?

Remember, if you have questions that you’d like to get our opinion on please use the contact form. Your question may be included in a future episode of From The Mailbag.

Your questions can be aesthetic, technical or even client related. We’d love to hear from you, and your question might make future episodes of From The MailBag.

Enjoy the Mailbag!

-Team Mixing Light

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