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Example of what a calibration disc can do

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Old 04-28-2009, 09:10 AM   #61  
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Quote:
Originally Posted by cmpmeridian View Post
From a self calibrated LC-52XS1U.
Welcome to the Forum

Nice job. It's hard to really tell from concerts, because of lighting differences, but the outdoor shot looks really good.

Did you calibrate each input?
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Old 05-09-2009, 12:42 PM   #62  
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Originally Posted by stritheor View Post
Then again, she is a news anchor and they tend to wear tons of make-up. That could have something to do with it couldn't it?
A late reply to this, but I certainly couldn't have replied earlier since I just read it now.

Katie Couric's lighting has changed a few times over the years she's been the lead anchor at CBS anyway, so it's a bit hard to gauge the true color temperature of her skin tones under the set lighting.

Anyway, makeup could play a bit of a part in the skin tones, but the overriding issue that determines the skin tone is the color temperature of the lights being used on the set. The color temperature (in Kelvins) is different for different types of studio lighting fixtures. The makeup artists usually do touch ups on set.

I'm currently working in the lighting department at a local news station so I see the actual folks on set under the lighting every day I'm there. This gives me a distinct advantage at home when tuning my picture settings for over-the-air HDTV broadcasts. I use the live news broadcast to adjust my picture. Broadcast pictures can be wildly uneven from show to show and commercial to commercial. Because of this I've always adjusted my OTA input via a live broadcast, but working at a station made me realize that what one station is using for lighting (fixtures, levels, gel colors, etc.) can be completely different than another station. This knowledge has also led me to change the color temperature of my OTA input from what I was used to watching. Now I favor a more neutral color temperature for my LCD rear projection set.

If I didn't have the knowledge of the actual look of the news cast I'd probably do what was suggested earlier in this thread and use the calibration DVD on this input to adjust. That seems the smart way to go.
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Old 05-09-2009, 01:25 PM   #63  
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Wouldn't using test screens with KNOWN color temp, and accurate colors for those color gels make that a moot point about the studio lighting since you would want the picture to match the broadcast not what someone looks like OFF screen?

The whole idea of calibrating colors on a display is to match and accurately show the broadcast or original material on SD DVD or BD, so knowing that it didn't look like that IF you were watching the filming of the movie as it was being filmed instead of the finished product/movie and trying to make it look like it did at the film location would NOT be accurate IMO. Your way would require people to know the on the set look instead of what the director intended for EACH scene in each movie. That would be impossible for anyone.

People can choose what they want to see by taste or accuracy and there is no right answer as it is a matter of taste IMO. I prefer to have it look as the director intended even if I do not like his intent and disagree with it (i.e. like in the movie 300).
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Old 05-11-2009, 10:49 AM   #64  
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Wouldn't using test screens with KNOWN color temp, and accurate colors for those color gels make that a moot point about the studio lighting since you would want the picture to match the broadcast not what someone looks like OFF screen?

The whole idea of calibrating colors on a display is to match and accurately show the broadcast or original material on SD DVD or BD, so knowing that it didn't look like that IF you were watching the filming of the movie as it was being filmed instead of the finished product/movie and trying to make it look like it did at the film location would NOT be accurate IMO. Your way would require people to know the on the set look instead of what the director intended for EACH scene in each movie. That would be impossible for anyone.
I was talking about tweaking the settings on the broadcast signal input using a live signal (such as a local newscast), not a taped or filmed signal, and the advantage I have in knowing the look on the studio set (and a news set is a static entity - the lighting and set never really change, unlike a film or television program set). I was probably unclear on that point.
I agree with you that using a recorded signal for tweaking, save for a disc made for calibration, is pointless because of all the post-production processing that happens to just about everything these days. That's why I said I only use a live broadcast signal to do some tweaking on the over-the-air signal.
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Old 05-11-2009, 11:28 AM   #65  
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Gotcha. I didn't know all the live broadcasts use the same lighting. If that is true it can help tweak what you know it looks like. It just may not apply for any other sources and require a lot of tweaking whenever you change the channel to something else, which for me would be a PITA that I would quickly tire of.
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Old 05-11-2009, 03:21 PM   #66  
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Gotcha. I didn't know all the live broadcasts use the same lighting.
Live local newscasts, generally, use the same lighting plots for their broadcasts (I say "generally" because I haven't been to every television news station and there might be some exceptions). At my station the only things that really change are the light levels, and those depend on the on-air talent (there are different cues for different news anchors). The goal of the lighting here is to get the anchors as evenly lit, level-wise, as possible, and that means the Lighting Director has to take into account the different reflectance of different skin-types. The station switched to HD broadcasts two years ago. Because of the HD cameras, the lighting levels were able to be brought down by a significant amount compared to the SD cameras and still achieved the same look. This means light levels at lower footcandles, and because of this the light level differences I mentioned earlier are significant enough to make a noticeable difference on the different anchors but not a noticeable difference in color temperature. This makes it a good source for me to make tweaks on my OTA input.

Quote:
If that is true it can help tweak what you know it looks like. It just may not apply for any other sources and require a lot of tweaking whenever you change the channel to something else, which for me would be a PITA that I would quickly tire of.
Exactly.
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Old 09-02-2009, 12:47 AM   #67  
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wow!
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Old 11-08-2009, 10:31 AM   #68  
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Originally Posted by ImRizzo View Post
If you go to the following site.. http://www.tweaktv.com/tweak-my-tv/ Once there you can input your TV Make & Model and they will give you settings for YOUR tv to make your picture significantly better it's not hard just carefully follow their directions, and your on your wat to a much better and more realistic image display. Before you start making your adjustments write done you PRE adjustment settings in case your not satisified with the results. I reset my XBR and was extremely happy with the corrected image.
I went to the website and there's no settings for my tv. Are there any other sites out there I can try to find my calibrations on?
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Old 11-08-2009, 11:00 AM   #69  
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I think a lot of reviews from cnet include their calibration specs. See if you can find your set (not necessarily in your size) in a cnet review.
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Old 11-08-2009, 11:07 AM   #70  
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Use a calibration disc as someone elses settings may make your TV look worse depending on manufacturing tolerances, parts, ambient room lighting and several other factors. A calibration DVD will make your unique TV look it's best in your environment.
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Old 11-08-2009, 11:39 AM   #71  
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Originally Posted by Loves2Watch View Post
Use a calibration disc as someone elses settings may make your TV look worse depending on manufacturing tolerances, parts, ambient room lighting and several other factors. A calibration DVD will make your unique TV look it's best in your environment.
Would you recommend the DVE DVD? Amazon reviewers seem to think it's not so good. This was made over 6 years ago too...there's nothing newer/better?

http://www.amazon.com/Digital-Video-...7698621&sr=8-3
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Old 11-08-2009, 06:11 PM   #72  
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I actually think that there is a calibration tool on the xbox 360 (for those that have it)...
http://marketplace.xbox.com/en-US/ga...5-d802585501a2

Never really tried a calibration disc, or this, but I did remember seeing the demo a few months back.
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Old 11-09-2009, 09:47 AM   #73  
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Originally Posted by dondada469 View Post
Would you recommend the DVE DVD? Amazon reviewers seem to think it's not so good. This was made over 6 years ago too...there's nothing newer/better?

http://www.amazon.com/Digital-Video-...7698621&sr=8-3
From a professional standpoint, DVE, Avia and the new Blu-ray only Spears and Munsil are the best calibration discs available for the home user.

Heck with the amazon reviewers, DVE works great!
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Old 11-11-2009, 07:20 PM   #74  
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Originally Posted by Loves2Watch View Post
From a professional standpoint, DVE, Avia and the new Blu-ray only Spears and Munsil are the best calibration discs available for the home user.

Heck with the amazon reviewers, DVE works great!
Out of the DVD kind, which is better (faster) DVE or Avia? And where's the cheapest place to pick one up?
I don't have a PS3 or BlueRay player yet (or a TV that can handle 1080p) so I think that one will have to wait for now.
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Old 11-11-2009, 08:27 PM   #75  
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Quote:
Originally Posted by dondada469 View Post
Out of the DVD kind, which is better (faster) DVE or Avia? And where's the cheapest place to pick one up?
I don't have a PS3 or BlueRay player yet (or a TV that can handle 1080p) so I think that one will have to wait for now.
Avia will be easier to use and navigate. Amazon is usually a good place to pick one up.

Hope this helps...
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