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If there are multiple films being shown you could discuss it with the other filmmakers and make a joint request. If the equipment needs adjusting, maybe there's someone to discuss that with. If you test it there's a better chance it will still work. If it's a dedicated theater (even a small one) your chances are better. We recently tested a venue just two hours before a screening, adjusted the projector ourselves, audio was initially good but then the facility staff messed up the audio so badly it was difficult to hear. The multi-use projectors in those places are typically very old, weak and out of adjustment. Unfortunately if it's a rented multi-use facility (ballroom, conference room, etc) it can get messed up between your test and the screening. Your best approach is get access to the venue and test both audio and video equipment ahead of time. It definitely raises the question why work hard correcting color or audio if the projection equipment is really bad. The above-discussed variation in monitors is trivial relative to the variation in lower-end, non-certified projection equipment and screens. George Lucas was so frustrated by this, he founded THX certification for theaters. A lot of projection and audio equipment is sub-standard and some of it is just totally messed up. I really don't want to discover something on the night of the screening!. That is a part I can test before hand but not always.Ī bit stressed when you can't try it out first.
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I have noticed that my films come out quite good in most circomstances but There is also one other variable.The projector setup. Similarly if you spend many hours color correcting video and your monitor is skewed red, blue, etc. If you spent many hours building a house with a tape measure that was three inches short, it would be expensive to correct. The risk is your monitor might be skewed or aged from a color standpoint. That variation doesn't mean the mastering engineer does a slipshod job. Others may be using Wilson Audio speakers that cost $700k in an acoustically-engineered room.
#MACBOOK COLOR CALIBRATION WINDOWS#
Some people may listen to the music on a cheap car radio with windows open. But that's not the goal of color calibration of the editing monitor. Some may be using a 15-yr-old CRT monitor others may be viewing it on a smart phone. There is no way to give all viewers the same experience. You can't control the thousands of different viewing methods and environments of your material. The problem is without calibration to a standardized yardstick via a colorimeter, you never know if all the hours you spend on color correction are valid. honestly there are so many variables on how people view things, you'd have to have 10 million different calibrations!