Projection set up for rec 709, gamma 2.2

[Elena Rue]

Hello!

I have completed a film and was asked by a film festival to have the projection set up for rec 709, gamma 2.2. I don't really know what these are and I'm wondering how I can meet those specs now that the film is completed. Do I need to color correct again? I saw on some other threads that there are LUTs I could add, but there seem to be a few different ones in Premiere that have rec 709 and I'm not sure which one to use.

Any guidance is welcome!

[R Neil Haugen · Accepted solution]

PrPro exports to most codecs in Rec709 sRGB and gamma 2.2 or 2.4. So for any codec that meets that specs naturally in standard use, that's what the file exported will be.

Which codecs/options do they want for the deliverable?

Neil

[Elena Rue]

That's good to hear! Here are the required specs:

Apple ProRes 422 technical specifications:

Codec Apple ProRes 422 (only)

1920x1080 container

Audio should be formatted for 2 channel output Lt Rt or stereo

Projection set up for rec 709, gamma 2.2

So do you think if I just do apple pro res, it will meet with project requirements?

Thank you so much!

[R Neil Haugen]

It should. That's just rock-standard Rec709.

Neil

[Elena Rue]

Thank you so much!

[excited_Genie16B8]

Having worked a bit in Resolve, one thing I notice is that PP offers no method to control the color space and gamma.  You get what Adobe gives you and if you need something else, you're out of luck.

To the best of my knowledge, Premiere Pro operates at Rec 709 with a 2.4 gamma and offers no way to change that.  That's slightly different than what you need, and may well be visible on screen.

By contrast:  Convert log to rec.709 automatically with RCM | DaVinci Resolve Tutorial - YouTube

[R Neil Haugen]

Correct about the output level for PrPro ... but especially as this is for film festival use, in general a 2.4 gamma is usually considered a better option. 2.2 is mostly used for web & "bright room" computer monitors, 2.4 is mostly the broadcast standard for good quality TV and some film usage, and 2.6 for 'dark room only' use, definitely for film theatre work.

Which makes 2.4 actually a good compromise, as it can work in all situations. It might be a shade darker in the mids in than than other projects at that festival ... but might not be.

Neil

[excited_Genie16B8]

Something to be aware of, at least.

[chrisw44157881]

premiere is 2.2 gamma, not 2.4. if you need that for grading, you need to use a transform lut to conform to it.

wraptor DCP, renders, and mercury transmit are also rec. 709 gamma 2.2 D65.

[R Neil Haugen]

In conversation with Lars Borg, chief color expert for PrPro, he suggests using the gamma setting of the "confidence" monitor to control for intended viewing ...

2.2: bright office/general web/computer/device monitors and screens;

2.4: TV b-cast delivery, controlled-environment TV & computer viewing;

2.6: dark-environment movie-room viewing.

Neil

[chrisw44157881]

lol, a faux gamma? after exporting, the gamma is still 2.2...I guess that's adobe's color management solution, lose dynamic range via grading a 2.4 curve in a 2.2..

also, if you wanted to preserve the export,,.,. wait a minute, the scopes won't reflect your 'mod' anyway!?

[excited_Genie16B8]

premiere is 2.2 gamma, not 2.4.

Your source?

[chrisw44157881]

unfortunately, any official adobe documents will be woefully outdated. you can easily test the 2.2 vs 2.4 theory yourself by assigning color profiles in photoshop or AE.   Premiere, photoshop, AE, VLC, all perfectly match pixel by pixel with 'instant eye dropper' RGB codes at sRGB 0-255 gamma 2.2 D65. case closed.

[excited_Genie16B8]

Thanks, Chris.