Spyder2Express & CS5 ??

G

George D.

Well-known member
Is there any problem whatsoever in using Spyder2Expresss to calibrate a monitor when using Adobe Premier CS5 ?

In other words, does it interfere with the color renditions and color management created by CS5 ?

If so, what would be the best way to keep accurate colors calibrated ?

Thanks.
 
George,

My understanding, and I could be wrong, is that the spyder color calibrator is for print work, photographs, layouts, color separation work stuff.

Our photo and digital printing department has the spyder2, but I don't use it in our video production department since our means and purpose of getting our colors right is different.

Our NTSC monitors get calibrated by grayscales and smpte color bars.

Print work is so tricky because you deal not only with rgb but also cmyk for color sep jobs.


Ted
 
teddybear said:
George,

My understanding, and I could be wrong, is that the spyder color calibrator is for print work, photographs, layouts, color separation work stuff.

Our photo and digital printing department has the spyder2, but I don't use it in our video production department since our means and purpose of getting our colors right is different.

Our NTSC monitors get calibrated by grayscales and smpte color bars.

Print work is so tricky because you deal not only with rgb but also cmyk for color sep jobs.


Ted
Click to expand...

Hi Ted,

Hope all it going well with you.

Thanks for the info, and I see what you are saying.

What I need to know is, will the Spyder2 have a detrimental affect on the monitors for video viewing and editing? Is it going to alter the "look" of the video in a bad way?

Would it be better to not use it at all? What would you suggest I do to to allow calibrating by grayscales and smpte color bars?

**I just want to be sure the monitors are giving me a TRUE rendition of the colors in a scene. How else can I tell if the scenes need altering or not?

Thanks again.
 
George,

the monitors do get altered and they might not be ideal for video work,

in an ideal setup you usually have hardware thats outputs your timeline to an NTSC or PAL compliant monitor or TV when you need a cheap alternative.

If your using a Video monitor (industry standard video monitors) it has color bars and blue only modes that allow you to set it up right.

If using a TV, you can send smpte color bars from your NLE and set it right, usually if using a TV, you switch it to standard mode, and start tweaking from there. In most cases if you have a good quality TV you just adjust the brightness and contrast.

Now I don't fiddle much with my computer monitors since trying to get the video overlay from the graphic cards to NTSC standards usually you adjust gamma, which will tire my eyes easily.


Ted
 
George,

if you are using an nvidia card, you can also tweak the monitor via control panel. You can check with your smpte color bars that has gray/white and black bars to adjust your computer monitor's gamma, brightness and contrast. But again, getting your monitor to be NTSC compliant requires a "stronger" gamma setting than what we usually use in viewing computer screens (subdued a bit to be more comfortable for the eyes for long term use).
 
Premiere Pro CS5 assumes your monitor is at sRGB. Any footage that you capture will be translated into sRGB on the fly (not written to the file).

Calibrate your monitor to sRGB, and color correct away. (Gamma 2.2, d65, sRGB primaries)

When you export media that is rec.709 or rec.601, Premiere Pro CS5 will do a color space conversion automatically. CS4 did not do this, so be careful if you are working in CS4.

If you are monitoring REC.601 (NTSC SD) footage I Highly reccomend that you use a DV camera, and use the analog outputs to also check your work on an NTSC tube TV. make sure it has a blue only mode so you can set the chroma properly.

Follow these instructions for a REC.601 NTSC SD TUBE tv ONLY. Do not attempt to do with with your PC monitor, as it is in a different color space.

http://spareroommedia.com/video/monitor_setup.html
 
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