User manual APPLE SHAKE 4 TRUELIGHT

[. . . ] The FilmLight recommended practice document RP-FL001 "Viewing Environment and Monitor Setup" gives more detailed advice on setting up your viewing environment - this can be downloaded from the FilmLight website. The following procedure applies to the visual calibration of the Shake user interface monitor. If you have an external HD broadcast monitor, Truelight provides two preset calibration options which may be appropriate for your monitor (see step 5 on page 8). Before starting, ensure that the VLUT and user scripts are switched off: To start the Truelight Monitor Calibration utility: 1 2 Click on the `other' tool tab This tab should include two Truelight icons - click on the Truelight Calibrate icon: A `TLCalibrate' node will appear in the Node View. [. . . ] It cannot measure the absolute brightness or colour of your monitor. The standard Apple Cinema and CRT templates use the Truelight default white point (16 foot-lamberts D65). If you are using a Truelight Monitor Probe calbration as your template, then you will get the correct absolute white point for your monitor. For more details see Truelight note FL-TN-00-001 on the FilmLight website. Truelight 6 Monitor Calibration Shake Node Calibrations based on the standard Apple Cinema and CRT templates link display RGB values to absolute colours in CIE XYZ. Truelight also supports display calibrations that link display RGB values to colours relative to the display white in CIE L*a*b*. For more details on these standard colour spaces see Truelight note FL-TN-00-002 on the FilmLight website. Truelight The Truelight Viewer Shake Node 7 The Truelight Viewer Once the Shake monitor has been calibrated (see Monitor Calibration on page 3), a Truelight node can be added to provide an accurate preview of what the final film print will look like: 1 2 Select the color tool tab. Click on the Truelight Viewer icon: A Truelight node will appear in the Node View. Insert the Truelight node into the tree at the appropriate point. 3 Click or double-click on the Truelight node to load its parameters: 4 Click on the profile button and select a Truelight profile from the pop-up list which matches the film-out process (print stock) you are simulating. Truelight 8 The Truelight Viewer Shake Node The default profile set is based on different film stocks, projected with a standard xenon lamp. Advanced users can make their own profiles using a text editor (for more details see Truelight note FL-TN-00-003 on the FilmLight website). If you require detailed simulation of your light box, projector, or specific film-out process, please contact FilmLight for information on alternative profiles and customised calibrations. 5 Click on the display button to choose the monitor calibration file for your display. If you have not yet calibrated the Shake monitor, please use the Truelight Calibration utility (see page 3). The list of display calibrations will include three standard files - rec709, rec709legal, and SonyHD. These calibrations are normally used in conjunction with an external broadcast monitor. The two rec709 calibrations match the standard ITU broadcast formulae; SonyHD matches a typical well-set up HD monitor. 6 Finally, click on the colourSpace button to set the correct working colour space for your material. The options are `log', `linear' and `video'. These settings correspond to the basic colour space settings in the Shake LogLin node, but without the additional parameters (see Appendix for more details). The Truelight node should now be set up to correctly simulate the chosen film-out process on the calibrated Shake monitor. Note that the screen shot on the previous page shows controls for white point luminance (`whiteLuma') and chrominance (`whiteChroma') at the bottom of the `advanced' drop-down section. These controls are only shown if the currently selected display needs them. If you cannot see these three sliders, then you may be using a CIE L*a*b* display calibration. Note also that there are three printerPoint controls. These controls are only shown if the currently selected profile can use them. [. . . ] If you are working under office lighting, you may want to turn up the brightness. flare - When ambient light levels are high, detail in the darker areas of an image can become difficult to see. Flare correction can be applied to effectively `stretch' the black end of the gamma curve. This is useful when it is impractical to black out the room. The default value of 0. 01 matches the reference cinema conditions. whiteLuma - Sets the maximum white output level of the monitor. [. . . ]