Apple Color 1.5 - Manual (Page 152)

Other than specifying or choosing the initial shooting or transfer format, the bit depth
of the source media on disk is predetermined (usually 8-bit, 10-bit, or 10-bit log). Since
low bit depths can be prone to banding and other artifacts during the color correction
process (especially when gradients are involved), it’s usually advantageous to process
the video at a higher bit depth than that of the original source media (secondary
corrections and vignettes can especially benefit).
Color will process and output your video at whatever bit depth you select. However, most
broadcast video interfaces max out at 10-bit resolution. For maximum quality while
monitoring, you should set the Internal Pixel Format to the highest bit depth you want
to work at and make sure the Video Output pop-up menu is set to a 10-bit option.
Note: Video noise and film grain often minimize the types of artifacts caused by color
correction operations at low bit depths, so the advantages of working at higher bit depths
are not always obvious to the naked eye.
Monitoring at high bit depths is processor-intensive, however, and can reduce your
real-time performance. For this reason, you also have the option of lowering the bit depth
while you work and then raising it when you’re ready to render the project’s final output.
For more information about the monitoring options available in the User Prefs tab, see
Playback, Processing, and Output Settings .
Choose Your Monitor Carefully
It’s important to choose a monitor that’s appropriate to the critical evaluation of the type
of image you’ll be grading. At the high end of the display spectrum, you can choose from
CRT-based displays, a new generation of flat-panel LCD-based displays, and high-end
video projectors utilizing a variety of technologies.
You should choose carefully based on your budget and needs, but important characteristics
for critical color evaluation include:
• Compatibility with the video formats you’ll be monitoring
• Compatibility with the video signal you’ll be monitoring, such as Y
′
P
B
P
R
, SDI, HD-SDI,
or HDMI
• Suitable black levels (in other words, solid black doesn’t look like gray)
• A wide contrast range
• Appropriate brightness
• User-selectable color temperature
• Adherence to the Rec. 601 (SD) or 709 (HD) color space standards as appropriate
• Proper gamma (also defined by Rec. 709)
• Controls suitable for professional calibration and adjustment
152 Chapter 6 Monitoring Your Project