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My understanding is that the pro monitors share panel technology with the consumer models, but they’re set up with more professionally oriented menu options for selection of gamut and gamma, so that it speaks the same language you do.

Davinci resolve lite 10.1 professional#

However, Panasonic’s professional series TH-42PF50U displays are an easier purchase to make for the colorist, albeit at greater expense. That model has been discontinued in favor of 2013’s VT60 series, about which I’ve heard many good things. Within the context of my small freelance grading practice, it’s been doing well for me. In my case, in 2011 I purchased a Panasonic TC-P55VT30. LUT calibration is not about making poor displays good, it’s about making good displays accurate. So, LUT calibration doesn’t let you off the hook as far as getting a good display you still need to do the research and purchase the best display technology you can afford. When used for calibration, 3D LUTs are capable of transforming larger gamuts to match smaller gamuts, but there’s no way you can make a display with a smaller gamut properly display a larger gamut. LUTs, specifically 3D LUT cubes, are mathematical tables that automatically calculate what RGB value to output based on each RGB value that’s input. However, if you’re trying to calibrate it to meet the DCI standard of digital cinema calibration, which has a much larger gamut, then you’re out of luck. For example, if you’re calibrating a high-end plasma display that’s capable of Rec.

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LUT calibration only works well when your display is already capable of meeting or exceeding the full gamut, or range of colors, of the calibration standard you require.

Your Displayīefore you get too excited about the promise of automated, LUT-based calibration, it’s important to know what it can’t do. Once your display has been characterized, the difference between an ideal calibration and your actual display can then be used to mathematically generate a LUT (Look Up Table) that can be used to transform whatever signal is sent to your display into how it should look on an ideal display. This lets you see how much and where your display deviates from an ideal colorspace, such as the Rec. The process of measuring tens or even hundreds of patches of different colors characterizes your display, providing data about what your display is actually capable of showing.

Davinci resolve lite 10.1 generator#

The pattern generator outputs a series of color patches to the display you’re calibrating, the color probe measures each patch, and the software saves the resulting measurements. However, once you know how things work, automated calibration should be a simple and straightforward procedure. Essentially, you use color management software to control both a color probe and a pattern generator (which can be either hardware or software) that work together to measure your display. Monitor calibration is an obscure corner of the already obscure profession of color correction. However, for now, plasmas are still very much in use at facilities around the world, so this information is still relevant. In fact, with plasma displays soon to be discontinued by Panasonic (according to the last news I’ve heard), the various debates about whether or not plasma is truly suitable for professional use shall eventually become moot. While I’m discussing my particular use case, it’s worth pointing out that these procedures are identical for calibrating any kind of display, be it plasma, LCD, OLED, or projection. A Panasonic VT30 series plasma display (since superseded by the VT60), which used to be my primary client display.A Klein K-10 colorimeter (now superseded by the Klein K-10A).DaVinci Resolve 10 (this also works with the free Resolve Lite 10).LightSpace CMS ( Color Management System) from Light Illusion.In this article, I’m going to illustrate the process of automated LUT calibration using the particular software and hardware combination that I’ve been working with:

However, recent developments – specifically the release of DaVinci Resolve 10 – have dramatically simplified this process, making LUT calibration easier then it’s ever been for small shops.

Davinci resolve lite 10.1 how to#

One of the most frequently asked questions I’ve gotten over the years is “I’m planning on using a plasma display for color critical monitoring, but I’m not sure how to calibrate it.” I’ve been putting off answering this question for months, as the answer has, until recently, been a bit more complicated then I’ve wanted it to be.