Films from Jim Jarmusch and Steven Knight will be featured at the 30th annual Park City event, running Jan. 16-26.
The Sundance Film Festival unveiled the 2014 lineup for its Spotlight, New Frontier and Park City at Midnight sections on Thursday. Among the highlights are Richard Ayoade's mistaken-identity thriller The Double, which stars Jesse Eisenberg and Mia Wasikowska, and Steven Knight's Tom Hardy starrer Locke.
The festival, celebrating its 30th anniversary this year, also revealed Thursday the debut slate for a new section dubbed Sundance Kids, which highlights films for younger audiences. Of the two films representing Sundance Kids is Ernest and Celestine, an animated film from France/Belgium/Luxembourg featuring a voice cast that includes Forest Whitaker, Mackenzie Foy, Lauren Bacall, Paul Giamatti, William H. Macy and Megan Mullally.
The Festival takes place Jan. 16-26 in Park City, Salt Lake City, Ogden and Sundance, Utah.
Also in the Spotlight section is Ritesh Batra's The Lunchbox, a film from India that already drew raves at the Toronto Film Festival. Wasikowska turns up again in the Spotlight section in Jim Jarmusch's Only Lovers Left Alive.
The Park City at Midnight features several horror pics including Cooties starring Elijah Wood and Rainn Wilson. The film was directed by Jonathan Millott and Cary Murnion from a screenplay by Leigh Whannell and Ian Brennan. Sundance also will have a 3D film playing after hours with Under the Electric Sky (EDC 2013), which chronicles the love, community and life of festivalgoers during Electric Daisy Carnival Las Vegas, the largest music festival in the U.S.
And one year after Joseph Gordon-Levitt's directorial debut Don Jon sold at Sundance, he’s back with another helming effort with HitREcord on TV, which will make its world premiere in the New Frontier section. The film is described as a new kind of variety show with host Gordon-Levitt directing a global online community of artists as they create short films, music, animation and more.
"The films in the sections announced today round out our 2014 Sundance Film Festival program and further reflect the depth and diversity of modern independent filmmaking that will satisfy everyone from festival fledglings to fanatics," Sundance director of programming Trevor Groth said.
Films for the premieres and documentary premieres sections will be announced in the coming days. The full list of Spotlight, Park City at Midnight and Sundance Kids titles are below.
Regardless of where these films have played throughout the world, the Spotlight program is a tribute to the cinema we love.
Blue Ruin / U.S.A. (Director and screenwriter: Jeremy Saulnier) — A mysterious outsider’s quiet life turns upside down when he returns to his childhood home to carry out an act of vengeance. Proving to be an amateur assassin, he winds up in a brutal fight to protect his estranged family. Cast: Macon Blair, Amy Hargreaves, Sidné Anderson, Devin Ratray, Kevin Kolack.
The Double / United Kingdom (Director: Richard Ayoade, Screenwriter: Avi Korine) — Jesse Eisenberg plays Simon, a timid and isolated man who is overlooked at work. When James, a new coworker arrives, he upsets the balance because he is both Simon’s physical double and his opposite: confident and good with women. Then James slowly starts taking over Simon’s life. Cast: Jesse Eisenberg, Mia Wasikowska, Wallace Shawn, Noah Taylor, Cathy Moriarty, James Fox.
Ida / Poland (Director: Pawel Pawlikowski, Screenwriters: Pawel Pawlikowski, Rebecca Lenkiewicz) — Anna, a young novitiate nun in 1960s Poland, is on the verge of taking her vows when she discovers a dark family secret dating back to the years of the Nazi occupation. Cast: Agata Kulesza, Agata Trzebuchowska, Dawid Ogrodnik.
Locke / United Kingdom (Director and screenwriter: Steven Knight) — Locke is a feat of dynamic storytelling from Academy Award–nominated writer/director Steven Knight, anchored by Tom Hardy’s fantastic performance. Unfolding in real time, the film is a gripping story of choices, consequences, and a man who risks everything he holds dear to do the right thing. Cast: Tom Hardy, Ruth Wilson, Olivia Colman, Andrew Scott, Tom Holland, Bill Milner.
The Lunchbox / India, France, Germany (Director and screenwriter: Ritesh Batra) — A mistake made by the dabbawallahs, Mumbai’s famously efficient lunchbox delivery system, connects a young housewife to a stranger in the dusk of his life. Through notes in the lunchbox, the two build a fantasy world that gradually threatens to overwhelm their reality. Cast: Irrfan Khan, Nimrat Kaur, Nawazuddin Siddiqui, Denzil Smith, Bharati Achrekar, Nakul Vaid Nakul Vaid.
Only Lovers Left Alive / U.S.A. (Director and screenwriter: Jim Jarmusch) — Set against the desolation of Detroit and Tangier, an underground musician, depressed by the direction the world is taking, reunites with his lover. Their love story has endured for centuries, but the woman’s uncontrollable sister disrupts their idyll. Can these wise outsiders continue to survive as the world collapses around them? Cast: Tom Hiddleston, Tilda Swinton, Mia Wasikowska, John Hurt, Anton Yelchin, Jeffrey Wright.
R100 / Japan (Director and screenwriter: Hitoshi Matsumoto) — A mild-mannered family man with a secret taste for S&M finds himself pursued by a gang of ruthless dominatrices—each with a unique talent—in this hilarious and bizarre take on the sex comedy from Japanese comic mastermind Hitoshi Matsumoto. Cast: Nao Ohmori, Lindsay Kay Hayward, Hairi Katagiri.
Stranger by the Lake / France (Director and screenwriter: Alain Guiraudie) — Frank spends his summer searching for companionship at a lake in France. He meets Michel, an attractive, mysterious man and falls blindly in love. When a death occurs, Frank and Michel become the primary suspects. Stranger by the Lake is an erotic thriller testing the limits of sexual desire. Cast: Pierre Deladonchamps, Christophe Paou, Patrick d’Assumçao.
PARK CITY AT MIDNIGHT
From horror flicks to comedies to works that defy any genre, these unruly films will keep you edge-seated and wide awake. Each is a world premiere.
The Babadook / Australia (Director and screenwriter: Jennifer Kent) — A single mother, plagued by the violent death of her husband, battles with her son’s fear of a monster lurking in the house, but soon discovers a sinister presence all around her. Cast: Essie Davis, Noah Wiseman, Daniel Henshall, Hayley McElhinney, Barbara West, Ben Winspear.
Cooties / U.S.A. (Directors: Jonathan Millott, Cary Murnion, Screenwriters: Leigh Whannell, Ian Brennan) — A mysterious virus hits an isolated elementary school and transforms the students into a feral swarm of mass savages; then an unlikely hero must lead a motley band of teachers in the fight of their lives. Cast: Elijah Wood, Rainn Wilson, Alison Pill, Jack McBrayer, Leigh Whannell, Nasim Pedrad.
Dead Snow: Red vs. Dead / Norway (Director: Tommy Wirkola, Screenwriters: Tommy Wirkola, Stig Frode Henriksen, Vegar Hoel) — The gruesome Nazi Zombies are back to finish their mission, but our hero is not willing to die. He is gathering his own army to give them a final fight. Cast: Vegar Hoel, Stig Frode Henriksen, Martin Starr, Ørjan Gamst, Monica Haas, Jocelyn DeBoer.
The Guest / U.S.A. (Director: Adam Wingard, Screenwriter: Simon Barrett) — A soldier on leave befriends the family of a fallen comrade. He soon becomes a threat to everyone around him when it’s revealed he’s not who he says he is. Cast: Dan Stevens, Maika Monroe, Leland Orser, Lance Reddick, Chase Williamson, Brendan Meyer.
Killers / Japan, Indonesia (Directors: The Mo Brothers, Screenwriters: Timo Tjahjanto, Takuji Ushiyama) — Two serial killers post their violent crimes online in a psychotic battle for notoriety. It soon becomes clear that they will square off with one another face to face. Cast: Kazuki Kitamura, Oka Antara, Rin Takanashi, Luna Maya, Ray Sahetapy.
The Signal / U.S.A. (Director: William Eubank, Screenwriters: William Eubank, Carlyle Eubank, David Frigerio) — Three college students disappear under mysterious circumstances while tracking a computer hacker through the Southwest. Cast: Laurence Fishburne, Brenton Thwaites, Olivia Cooke, Beau Knapp.
Under the Electric Sky (EDC 2013) / U.S.A. (Directors: Dan Cutforth, Jill Lipsitz) — This 3D film chronicles the love, community, and life of festivalgoers during Electric Daisy Carnival Las Vegas, the largest music festival in the U.S. Behind-the-scenes footage and exclusive interviews with Insomniac’s Pasquale Rotella reveal the magic that makes this three-night, 345,000-person event a global phenomenon.
What We Do in the Shadows / New Zealand, U.S.A. (Directors and screenwriters: Taika Waititi, Jemaine Clement) — This mockumentary follows the struggles of a group of New Zealand–based vampires to understand modern society and adapt to the ever-changing world around them. Cast: Jemaine Clement, Taika Waititi, Jonny Brugh, Cori Gonzales-Macuer, Stu Rutherford.
To reach our youngest independent film fans, we have created a new section of the Festival especially for them. Programmed in cooperation with Tumbleweeds, Utah’s premiere film festival for children and youth.
Ernest and Celestine / France, Belgium, Luxembourg (Directors: Benjamin Renner, Stéphane Aubier, Vincent Patar, Screenwriter: Daniel Pennac) — Unlike her fellow mice, Celestine is an artist and a dreamer. When she nearly ends up as breakfast for a bear named Ernest, the two form an unlikely bond that is quickly challenged by their respective communities. Cast: Forest Whitaker, Mackenzie Foy, Lauren Bacall, Paul Giamatti, William H. Macy, Megan Mullally. World Premiere (English version)
Zip & Zap and the Marble Gang / Spain (Director: Oskar Santos, Screenwriters: Francisco Roncal, Jorge Lara, Oskar Santos) — Zip and Zap are punished by being sent to a re-education center. Guided by intelligence, they uncover a mysterious secret hidden deep within the school and end up having the most exciting adventure of their lives. Cast: Javier Gutiérrez, Daniel Cerezo, Raúl Rivas, Claudia Vega, Marcos Ruiz, Fran García. U.S. Premiere
NEW FRONTIER FILMS
The Better Angels / U.S.A. (Director and screenwriter: A.J. Edwards) — Set in the harsh wilderness of Indiana, this is the story of Abraham Lincoln’s youth. It tells of the hardships that shaped him, the tragedy that marked him forever, and the two women who guided him to immortality. Cast: Jason Clarke, Diane Kruger, Brit Marling, Wes Bentley. World Premiere
The Girl From Nagasaki / Germany, U.S.A., Japan, Italy (Director: Michel Comte, Screenwriters: Anne-Marie Mackay, Ayako Yoshida, Michel Comte) — This 3D feature film production of the classic Puccini opera Madame Butterfly is directed by world-renowned photographer Michel Comte. It’s a modern-day tale that starts with the young madame emerging from the ashes of the atomic bomb in Nagasaki. Cast: Christopher Lee, Sasha Alexander, Michael Wincott, Michael Nyqvist, Robert Evans, Polina Semionova. International Premiere
HitREcord on TV / U.S.A. (Director: Joseph Gordon-Levitt)— HitREcord on TV is a new kind of variety show with host Joseph Gordon-Levitt directing a global online community of artists as they create short films, music, animation, and more. Anybody with an Internet connection is invited to contribute, and each episode focuses on a different theme. World Premiere
Living Stars / Argentina (Directors: Mariano Cohn, Gastón Duprat) — Argentinians open their homes to the public and perform dance numbers they normally only do alone, in front of a mirror. The directors portray them in their houses, with improvised sets, revealing a collection of urban curiosities. World Premiere
Through a Lens Darkly: Black Photographers and the Emergence of a People / U.S.A. (Director: Thomas Allen Harris, Screenwriters: Thomas Allen Harris, Don Perry, Paul Carter Harrison) — Through a Lens Darkly is an epic film that moves poetically between the present and the past through the work of contemporary photographers and artists. Their pictures and stories seek to reconcile legacies of pride and shame while giving a voice to images long suppressed, forgotten, or hidden from sight. World Premiere
by Tatiana Siegel Hollywood Reporter
An overview of Backbone’s new C-Mount lens modification kit currently in development for GoPro Hero 3 Black.
For more information please visit back-bone.ca
Nominations: Best Cinematography
Sean Bobbitt, 12 Years A Slave
Benoit Debie, Spring Breakers
Bruno Delbonnel, Inside Llewyn Davis
Frank G. Demarco, All Is Lost
Matthias Grunsky, Computer Chess
Shane Carruth, Upstream Color
J.C. Chandor, All Is Lost
Steve McQueen, 12 Years A Slave
Jeff Nichols, Mud
Alexander Payne, Nebraska
12 Years A Slave
All Is Lost
Inside Llewyn Davis
Woody Allen, Blue Jasmine
Julie Delpy, Ethan Hawke & Richard Linklater, Before Midnight
Nicole Holofcener, Enough Said
Scott Neustadter & Michael H. Weber, The Spectacular Now
John Ridley, 12 Years A Slave
Cinematographers Roundtable Full Interview by The Hollywood Reporter
Barry Ackroyd (Captain Phillips), Sean Bobbitt (12 Years a Slave), Bruno Delbonnel (Inside Llewyn Davis), Phedon Papamichael (Nebraska) and Stuart Dryburgh (The Secret Life of Walter Mitty) sit down for a candid conversation.
One of the best gifts I’ve ever received on my travels is a stove made with nothing but a drinks can and a knife. In this video, we’re going to learn how to make it.
The stove runs on alcohol, of which the most common source is medical alcohol from your local pharmacy. For information on finding fuel for the stove, visit zenstoves.net/Stoves.htm#Fuels
It goes without saying that fire can be dangerous. Be respectful and enjoy putting this stove to good use!
Christopher Doyle: The Artistic Process
Monitor Calibration and Profiling
Monitor Calibration and Profiling
On this page, we describe how monitor calibration and profiling works, and outline workflow for optimizing your monitor.
Understanding monitor calibration and profiling
LCD panel architecture
Using a hardware device to calibrate your monitor
What luminance, white point and gamma do I use?
Quality controlling your color management system
The monitor is your window to the world (or at least to your photos). If you’ve ever been in a television store and looked at a row of sets playing the same program, you may have noticed that the color appearance can vary widely (or wildly) from TV to TV.
If you don’t calibrate and profile your monitor, then your picture’s appearance can vary widely from the way it would look on other monitors, and can mislead you about the actual colors in your image. To address this problem, monitors can be calibrated and profiled. This process makes the device show as accurate an image as possible.
Calibration is the process of setting the monitor to the desired neutral output. It includes settings for luminance, white point and gamma. Once it’s been neutralized as well as the monitor’s controls allow, it’s time to measure the color and help to perfect it with software.
Profiling is the process of measuring the imperfections in the monitor, and creating a “filter” that compensates for those imperfections. Using the parameters set in the calibration step, profiling requires using a hardware device, often referred to as a “puck” (a Colorimeter or Spectrophotometer), that hangs over the monitor screen and reads several sets of red, green, blue and grey patches generated by the profiling software. The color patches are measured by the puck as they are displayed. The differences between the colors the monitor displays in its native state and the true colors of the patches are used to create a monitor profile which will cause the monitor to display the true colors more closely than it did in its native state.
Like high-end stereo speakers, the monitor is a place where you really do get what you pay for. The best systems are precision engineered for added fidelity and evenness across the screen.
The old-school CRT monitors are pretty much out of service. They have been replaced by LCD flat panel monitors. The newest technology is a new form of flat panel that uses LED light behind the screen.
Important characteristics to consider when selecting a monitor to use for image editing:
Illumination type – backlit fluorescent or LED
In the 1990s, high-end CRT (cathode ray tube) monitors were considered to be state of the art. That technology has gradually given way to LCD panels. Up until now, these panels have used CCFL (cold cathode fluorescent lamp) back lights. CCFL technology is in the process of being replaced by LED (light emitting diode) backlights. LED backlights have many advantages over CCFL including requiring half the power consumption and, more importantly, they are free of mercury, a toxic material that is emitted by electronic equipment. LED backlights have another advantage: the white light they create is derived from pure red, blue and green LEDs, so the light is purer, brighter and can offer a wider color gamut than CCFL. Some LED panels that are currently available have up to 120% of the Adobe RGB (1998) color gamut, which is 25% more than the very best CCFL panels. Most likely your next LCD will be an LED backlit display.
DDC (display data channel) enabled
DDC allows adjustment of the display’s brightness, contrast, white point and gamma through the profiling device and software. This will save time and improve precision when calibrating and profiling monitors. When shopping for a new monitor, it’s best to choose a DDC-compliant display if possible.
Computer monitors started out as 1-bit depth displays – good only for looking at type. Monitor development quickly progressed and now all consumer displays are 24-bit and can display over 16.7 million distinct colors. Twenty four-bit color is based on eight bits per RGB channel, which is why you may see monitors described as having 8-bit depth color. High quality graphics monitors such as the EIZO CG series have 10-, 12-, or 14-bit depth. This results in smoother transitions between tone values and the possibility of using the extra bits to extend the dynamic range of displayed images, allowing more detail to be seen in extremely bright areas and better shadow detail all at the same time. This extra headroom allows for easier editing in wide gamut color spaces. Some of this advantage is still theoretical until Photoshop supports greater than 8-bit depth all the way from the display to the pixels in an image.
Many high-end monitors advertise the fact that they can display all or nearly all of the Adobe RGB (1998) color space. At first glance, this seems like something that you would want, and in many ways it is, but there are a few trade-offs. One issue is that the visible difference between almost identical colors – meaning colors that vary by just one number in an RGB triplet, such as our example in the color management overview section of 255, 133, 1 and 255, 134, 1 – is much greater. This can make color editing more difficult. Another unwanted side-effect of wider gamut displays is that untagged colors and images on the web (which is most of them) will be greatly exaggerated. This neon effect is the result of narrow gamut sRGB images displaying in the monitor gamut space, which is what happens with non-color-managed browsers and/or untagged images. This can make web viewing an unpleasant experience on these wide gamut displays.
Evenness of illumination across the screen
We can say unequivocally that this is an essential feature for a monitor to have. When you buy a new widescreen monitor you should check it for evenness. This can be most accurately done by creating a monitor profile, and then use the “validate current profile” function of the monitor profiling software to measure the four corners and side-to-side areas. If you have a spectrophotometer handy, this can be used as well. A quick-and-dirty approach is to bring up an image in Photoshop and move it around on the screen and see if it appears to get brighter or darker as you move it around.
Pixel response time
This refers to how quickly a pixel can change colors, measured in milliseconds (ms); the fewer the milliseconds, the faster the pixels can change, reducing the ghosting or streaking effect you might see in a moving or changing image. This feature is important for watching videos or gaming but not very important if you use your monitor for editing images in Photoshop. What is important for image editing is quick screen redraw, which is governed by the amount of RAM available on the graphics card and the image cache level settings.
Built-in calibration tools
The best monitors come with calibration tools as part of a package. These include calibration and profiling software, and some include the hardware device or puck. These tools include DDC communication, which allows the calibration tools to adjust the monitor hardware settings directly as opposed to just adjusting the graphics card. This preserves the monitor’s dynamic range better than adjusting only the graphics card.
LCD (liquid crystal display) monitors come in several architectures. One term you may see is TFT (thin film transistor) LCD. Thin film technology improves image quality and is used in all high quality computer monitors.
In addition to TFT, other terms you may see are TN, VA, and IPS. TN (twisted nematic) technology is the most basic LCD architecture. However, TN panels are not the best for photo editing due to a limited viewing angle (meaning that the color and contrast change fairly dramatically if your viewing angle is not dead center), and low bit depth (6-bit depth is typical).
VA (vertical alignment) architecture is an improvement over TN with improved viewing angles and support for 8-bit depth. There are several variations such as MVA (multi-domain vertical alignment), PVA (patterned vertical alignment) and ASV (advanced super view).
IPS panels are the best for photo editing
VA architecture and its variants are an improvement over TN, but arguably the best architecture for high-quality displays (the type required for accurate photo image editing), is the IPS (in-plane switching) architecture. There are now several variants of in-plane switching as the technology continues to advance.
These are the key advantages of IPS architecture:
- True wide viewing angle: Accurate and consistent colors at any viewing angle
- Real color: IPS reproduces images that are closest to the actual color ( original image = digital camera = IPS monitor)
- Eye comfort: Less eye strain in comparison to VA and TN
- Stable quality: Image onscreen is designed to remain stable when you touch the screen
Many professional IPS-based LCD monitors also feature high bit-depth and ultra wide color gamuts, which we define as equal to or greater than the Adobe RGB (1998) color space.
One interesting variation of IPS is the AH-IPS architecture developed by LG Display. This type of IPS panel uses the AFFS (advanced fringe field switching). This architecture gives the best performance for smaller screens with high resolution, such as those used in handheld devices like the Apple iPad.
AH-IPS has the advantage of greater light transmission, which translates into lower power consumption. So far, this technology has been limited to small screens due to higher manufacturing costs for larger screens.
While some monitors have integrated devices for calibration and profiling, you might want to invest in a stand-alone device. You can get great results with many mid-priced monitors and low-cost calibration solutions.
Figure 1 This video discusses monitor calibration and shows how to get accurate color on your monitor.
Verification of calibration
Some software incorporates a verification function that essentially rechecks the profile against the color patches and creates a monitor verification report. This report can be used to check on the accuracy of the monitor profile over time and even to track the performance of the monitor over time.
Best practices also recommend that you check the calibration by comparing a reference file as shown on the monitor to a reference print illuminated under a high-quality light source like a SoLux lamp.
Luminance or brightness of the monitor is the most important setting (outside of creating a good color profile) for screen-to-print matching. Monitor brightness is measured in candelas per square meter (cd/m2), also sometimes referred to as “nits”. The acceptable range is 80 cd/m2 to 120 cd/m2, with 100 cd/m2 being the most commonly recommended brightness for pre-press work. The brightness of the monitor is driven to a large degree by the brightness of the working environment. The brighter the working environment, the brighter the monitor will need to be.
The white point
The white point is the calibration setting on a monitor that determines the color temperature of the brightest white. Color temperature is expressed in Kelvin, eg 6500K. A more accurate unit of measuring color temperature is the so-called standard illuminant, expressed as D50, D65, etc. For most practical purposes you can use either unit of measure with your monitor calibration software. 5000K/D50 and 5500K/D55 are commonly used in CMYK reproduction, and 6500K/D65 is commonly used for general purpose and images on the web.
Native white point
The native white point is the default white point of a monitor. Most high-quality LCD monitors are very close to 6500K. Less expensive monitors and many Windows operating system monitors are quite a bit bluer, having a native white point between 7300K and 9300K.
Gamma is less important than white point and luminance for photographers because color managed image editing applications such as Photoshop automatically adjust for gamma and display all images the same, regardless of monitor gamma. The Windows operating system default is a gamma close to 2.2, while Apple operating systems have used a native gamma of 1.8 up until the Snow Leopard version of OS 10. Most monitor hardware is designed to have a native gamma of 2.2 so many Mac users calibrate and profile their systems to 2.2 gamma. A few calibration/profiling software applications use a variable gamma curve called L* gamma. It is a slightly less linear version of 2.2 gamma which can result in slightly more shadow detail.
You can run the calibration routine, but you don’t actually know that everything is set up optimally until you check it against some reference standards.
There are three elements to this:
- the reference file
- the reference print
- reference lighting
Reference print and reference file
In order to confirm that the monitor is showing you accurate color, you need to compare it to a print that is of known quality. The best way to do that is to purchase a reference print that is a certified proof of the file that produced the print. The color of these two versions of the image should match. Of course, in order to make sure you are seeing the colors in the print correctly, you need to view it under high-quality lighting. This exercise can help you fine-tune your choice of monitor white point.
A GATF RHEM indicator affixed to the proof will show when you are viewing your color with a light source with an accurate color temperature. The way that this works is that when the print is viewed in 5000K lighting, the indicator will appear to be all one color. In anything less than 5000K quality light the indicator will exhibit a striped appearanceFigure 2 A GATF metamerism sticker in light that is not 5000K. Figure 3 A GATF metamerism sticker in light that is 5000K.
In order to check the quality of your calibration, you need to examine a print under a standardized lighting setup which we refer to as reference lighting. Reference lighting is a high quality light source that is close to the D50 standard for graphic arts. This can be a lightbooth such as those made by GTI or others, or it can be a relatively inexpensive SoLux lamp. The SoLux lamp is very color accurate, but the lightbooth will produce less glare. Some lightbooths are equipped with brightness controls and some even have USB connections to the computer to provide complete control over monitor and reference lighting equalization.
Reference lighting can confirm the quality of your calibration sequence.
You can also use it to determine the best light source.
For those who really want to get things perfect, the reference setup can be used to determine which white point is most appropriate for your eye and your workspace. Profile your monitor to D65 and compare the screen to the reference print viewed under the reference lighting. If the print appears to be slightly warmer than the monitor, try D60, D55 or even D50 until you find the best match of monitor to print for your system and your working environment.
To really ensure that your workflow is color consistent, you can print out a copy of the reference image and check it against the reference print to see how well your printer is calibrated.
Ambient lighting, otherwise known as your working environment lighting, is a critical component of your color management setup. To a large degree it will influence your choice of monitor white point and monitor brightness, the two most important variables for monitor calibration. We recommend a reasonably dim unchanging ambient light level. Avoid working in conditions where strong sunlight streams in, as it will be too bright and will change continually throughout the day and from day to day.
HAPPY HALLOWEEN WITH “THE KILLER SHREWS”
From the world’s largest collection of coming attractions at the Academy Film Archive, find out what happens when low budget Dallas, Texas filmmakers create a ‘50s monster movie – using the family dogs as the stars, complete with furry costumes. A prime example of the classic American drive-in experience, this rare announcement trailer for THE KILLER SHREWS (1959) warns about the consequences when “the world’s most vicious animal” goes on a man-eating rampage.
The Packard Humanities Institute Collection is the largest known acquisition of theatrical trailers on film. Deposited by David Packard in 2009, this historically significant collection contains over 70,000 moving images and has transformed the Academy Film Archive into the world’s foremost repository of motion picture trailers.