Long Distance Color Correction

[Tommy]

I'm in charge of post production for a Red shoot and depending on money I may end up doing the color correction myself. The color correction will be done at such a great distance from the DP that I may not be able to work with him directly. What would be the best way to deal with this situation? One idea I have includes mailing reference shots and various clips from scenes throughout the movie to the DP- my only concern is the fact that we won't be looking at the material on the same monitors. Even if both monitors have been properly calibrated is that a safe way to proceed? Any suggestions?

[BigLu]

Tommy
Where are you located?

What have you shot?
Maybe I can give you a hand.

http://youtube.com/watch?v=cz5MmjGiijc

http://youtube.com/watch?v=GlEGDny_i3o

Thanks.

[10s]

I'd suggest you both spyder calibrate your monitors, control your ambient overhead lighting in the viewing location and go visit the KODAK web site, take a look at their system for conducting this activity. This will give you some ideas. Sending shots & small clips to and from a calibrated system is a workable solution. Then you can both view at the same time while talking on the phone.

http://motion.kodak.com/US/en/motion/Products/Lab_And_Post_Production/Display_Manager_System/index.htm

http://spyder.datacolor.com/

[Tommy]

We're shooting in LA this fall- end of September early October. Thanks for the offer BigLu. I'm going to use a Matrox MXO so I'm not sure if the Spyder would be necessary but I bet it wouldn't hurt. One additional question, if I'm going to be finishing HDCAM for festivals and working in Prores HQ what would be the best color space and gamma to use? Camera RGB and Rec709? I'd be using Apple Color for grading.