<p><br>
On May 16, 2012 7:42 AM, "Brecht Van Lommel" <<a href="mailto:brechtvanlommel@pandora.be">brechtvanlommel@pandora.be</a>> wrote:</p>
<p>> These look quite good to me now, the one thing that bugs me is the<br>
> dark areas, there's almost no detail there anymore. My guess is this<br>
> is just a tradeoff that you make if you want to fit the gamut, if you<br>
> want a nice range of brighter colors there's less space for dark<br>
> colors.<br>
><br>
> Looking at movie trailers they often have this as well, so I don't<br>
> think it's necessarily wrong. But I wonder if this is something that<br>
> would be addressed in the color transform or just something artists<br>
> can tweak in compositing</p>
<p>Bear in mind this is a pure ungraded dump to a reference standard sRGB space (sRGB primaries / D65 @ 80cd/m^2). It assuredly has extremely low "creative intent" from your DP.</p>
<p>On the subject of shadow detail, bear in mind that your DP was shooting to maximize his data and maintain enough ratios to pull out his creative intent via a grade. If he was doing temp grades on set, you can apply his creative look LUT to the work to give the team a ballpark idea of the look he will aim for in final grade after post.</p>
<p>Did J generate a creative look LUT? Is it available?</p>
<p>If not, sitting him down for a one light temp grade session would probably give you a better idea of the overall look for the team. It then allows the team to use the temporary grade LUT to evaluate further creative work.</p>
<p>TL; DR The detail is a creative decision that should be defined by your DP based on his creative intent and applied as a creative LUT. The reference standard outs sRGB, 709, DProj etc. all remain constant.</p>
<p>With respect,<br>
TJS</p>