@captaincranky Just wondering, have you ever calibrated a TV? Feel free to use any expletives you choose in your reply to me as you would like.
I set every TV I have ever owned up by eye, using manual picture mode. I first step I take, is to dial the color temperature back to 5500K. That's the same approach I've taken with every computer monitor I've ever owned.
Guess what, that takes most of the excess blue out of the screen, so you don't need some a**hole in marketing to explain about how you should buy a new monitor because, "this years model has a special 'blue light reduction' feature".
From viewing that video, I think it is different than adjusting an image in Photoshop.
Don't be too sure. The levels panel on the video I posted, is more than likely in keeping with current professional methods of preparing a video clip for distribution, since digital cameras are most likely employed for the initial capture as opposed to color negative film. The "color timer's" job description has likely been redefined to include evaluating digital using "levels like histograms", and balancing that information with what his eyes are telling him to do with the image.
Now, the primary reason I posted the levels video, was to show you what parameters affected what outcome in a print, (or movie clip). All of those parameters are, (or should have been) adjusted BEFORE the material is transmitted.
The alternative would be like handing a DVD of a person's wedding photos to the happy bride and groom, and telling them to, "adjust the color to your liking, before you have them printed. Which is exactly what HBO did, by handing that turd of an episode and telling them, "the pictures you are about to see are true, it's you and your TV that are in, 'the Twilight Zone'"!
Now, since you have gone wildly off topic before with your calibration fanaticism with the side trip into creating "printer profiles", which do absolutely depend on a reference standard calibrated monitor, I can't possibly be that far afield, by explaining the parameters for adjusting a movie for distribution.
While the methodologies for reaching the same qualities in an image might differ, the outcome, both objectively and subjectively, are to be judged using the same criteria
Consider this a return of the favor
https://www.howtogeek.com/299838/how-to-get-the-best-picture-quality-from-your-hdtv/-
It is consistent with Joe Kane's calibration material. You may, or may not, find the information on adjusting the contrast interesting. Try to pay attention.
You might understand why I suggested that the contrast control be renamed.
Here is another link just in case the contrast adjustment in the above link was too far down the page.
http://spearsandmunsil.com/portfolio-item/setting-the-contrast-control/
Let me say fist and foremost, "fu*k Joe Kane", he should shove his DVD where the 'white level' doesn't shine". Next "contrast doesn't need to be renamed, it's fine the way it is.
Now, I've had 2 years of college, taking still photos and movies, and printing them for juried exhibition. (I got mostly all A's, and had a few prints selected for the school's collection). So, you won't come over to watch TV at my house, and see anything but a decent picture. There'll be no green faces, no blown out highlights, no missing shadow detail, no washed out color, no over saturated color, and I did it all by eye, the way I was trained As someone who is literally afraid to touch his picture controls, do you have the hubris to say the same?
And BTW, my daddy taught me what the 'tint', 'color', and 'brightness' controls did on a color TV, some 60 odd years ago.
With that in mind, professional photographers wouldn't touch an LCD panel with a ten foot pole when they were first introduced. They stuck with CRT, for a good number of years, until flat panel technology caught up.
Anyway; make of this what you will:
Heavy Horses
Jethro Tull
Iron-clad feather-feet pounding the dust
An October's day, towards evening
Sweat-embossed veins standing proud to the plough
Salt on a deep chest seasoning
Last of the line at an honest day's toil
Turning the deep sod under
Flint at the fetlock, chasing the bone
Flies at the nostrils plunder
The Suffolk, the Clydesdale, the Percheron vie
With the Shire on his feathers floating
Hauling soft timber into the dusk
To bed on a warm straw coating
Heavy horses, move the land under me
Behind the plough gliding, slipping and sliding free
And now you're down to the few and there's no work to do
The tractor is on its way
Let me find you a filly for your proud stallion seed
To keep the old line going
And we'll stand you abreast at the back of the wood
Behind the young trees growing
To hide you from eyes that mock at your girth
Your eighteen hands at the shoulder
And one day when the oil barons have all dripped dry
And the nights are seen to draw colder
They'll beg for your strength, your gentle power
Your noble grace and your bearing
And you'll strain once again to the sound of the gulls
I
Heavy horses, move the land under me
Behind the plough gliding, slipping and sliding free
And now you're down to the few and there's no work to do
The tractor is on its way
Standing like tanks on the brow of the hill
Up into the cold wind facing
In stiff battle harness, chained to the world
Against the low sun racing
Bring me a wheel of oaken wood
A rein of polished leather
A heavy horse and a tumbling sky
Brewing heavy weather
Bring a song for the evening
Clean brass to flash the dawn
Across these acres glistening
Like dew on a carpet lawn
In these dark towns folk lie sleeping
As the heavy horses thunder by
To wake the dying city
With the living horseman's cry
At once the old hands quicken
Bring pick and wisp and curry comb
Thrill to the sound of all the heavy horses coming home
Iron-clad feather-feet pounding the dust
An October's day, towards evening
Sweat-embossed veins standing proud to the plough
Salt on a deep chest seasoning
Bring me a wheel of oaken wood
A rein of polished leather
A heavy horse and a tumbling sky
Brewing heavy weather
Heavy horses, move the land under me
Behind the plough gliding, slipping and sliding free
And now you're down to the few and there's no work to do
The tractor is on its way
Oh, heavy horses, move the land under me
Behind the plough gliding, slipping and sliding free
And now you're down to the few and there's no work to do
The tractor is on its way
Oh, heavy horses, move the land under me
Behind the plough gliding, slipping and sliding free
And now you're down to the few and there's no work to do
The tractor is on its way
Oh, heavy horses, move the land under me
Behind the plough gliding, slipping and sliding free
Songwriters: Ian Anderson
Heavy Horses lyrics © BMG Rights Management
