yep, like I posted at the top, I was still in the edit stage of the post, wanted to give additional information from those in the industry responsible / involved in the mastering..specifically Josh Pines and Ron Williams.... it's updated now.
More to add but I'll end the edit now..
Originally Posted by zoyd
There is no discussion of requirements of what the studio production environment should look like, there are plenty of other places to go for that but this document isn't one of them.
it is clear of the environment and that's also coming from conversations with many of these people including with some who attended that Symposium and EBU does specific the conditions for Studio Monitor measurement (of course not stated by EBU for grading), first being:
Measurements should be made in a darkened room (VESA FPDM2  specify this as less than 1 Lux room brightness)
There are documents from others for grading conditions which is different than for performance measurement (I'll get a few links and edit them here):
Set Up Your Viewing Environment Carefully
The environment in which you view your monitor also has a significant impact on your ability to properly evaluate the image.
There should be no direct light spilling on the front of your monitor.
Ambient room lighting should be subdued and indirect, and there should be no direct light sources within your field of view.
Ambient room lighting should match the color temperature of your monitor (6500K in North and South America and Europe, and 9300K in Asia).
There should be indirect lighting behind the viewing monitor that’s between 10–25% of the brightness of the installed monitor set to display pure white.
The ideal viewing distance for a given monitor is approximately five times the vertical height of its screen.
The color of the room within your working field of vision should be a neutral gray.
These precautions will help to prevent eye fatigue and inadvertent color biasing while you work and will also maximize the image quality you’ll perceive on your display.
If you really want to get info, join/check out http://tig.colorist.org/wiki/Main_Page
Of course, grading environments for film and those for projects intended for wide distribution (i.e. BD/DVD) will be different and color suites can tend to use lighting conditions more appropriate for projects to be seen under general living condition in normal homes. In fact, today's films go through many grading sessions depending on target dist. and even several just for Cinema...... blurb about Prometheus':Stephen Nakamura
, one of a handful of artists who helped to pioneer DI color grading, shares his experience on creating the look for Prometheus as envisioned by director Ridley Scott:
My biggest challenge was maintain Ridley's vision throughout all these deliverables. We graded for different 3D projection systems, one that can put approximately both 4 foot-lamberts, the other 6 foot-lamberts, of light on the screen. We also mastered to 2D for digital cinema (a DCP version) and did another for film-out. We also had to create another one for IMAX, which has an entirely different aspect ratio. We also had to approve all IMAX prints, and there was IMAX digital and IMAX film. So that made for six versions of the film. Then of course there's the Blu-ray and DVD.
We started the workflow for grading the multiple 3D versions with the less-bright 4 foot-lambert version, grading that all the way through. Once that was done, then it's easy to do the 6 foot-lambert version; it's just about pushing more light through when projecting it onto the screen. Some shots that may be on the verge of being clipped, looking totally blown out, in 4 foot-lamberts won't look that way when projected at 6 foot-lamberts. Basically, anything that looks good projected at 4 foot-lamberts will generally look better projected at 6. It still requires some fine-tuning, but it certainly makes a lot more sense than grading for 6 first. So much of what looks good projected that way will look terrible at 4. We also based the 2D master on the 4 foot-lambert 3D master and made refinements for 2D's much brighter projection systems. For the IMAX version, the color remains the same, but it involves panning-and-scanning to accommodate the aspect ratio.
(continued from my Post above):
Here is what Kevin Wines, Image Technology Director at THX
said at the Symposium that I
also found interesting:
The viewing quality of video is dramatically affected by room lighting conditions. We have no control over what direction the windows face, and sunlight changes color and intensity throughout the day. Seldom is the light at that ideal level when we're finishing it in post production. No one is suggesting we change the standard for post production. But you do have to be ready to adjust playback for the environment. You may be better lowering the gamma to get the perception back, as opposed to less sophisticated behavior with adjusting brightness or contrast.
and one more from Ron Williams, Landmark CEO
Critical elements for display image interchangeability include color gamut, contrasts, black/cutoff, and picture size. Screen size matters when comparing images. A larger screen appears to be brighter at the same fL [foot lamberts]." How bright is the right bright? Even here the numbers varied wildly: SMPTE documents specifies 35 fL; CRT monitors varied from 28 to 33 fL; HD CRT monitors run to 19 to 21 fL; plasmas vary between 18 to 24 fL; and computer monitors are between 19 to 26 fL.
Contrast ratio is the ratio of luminance between the brightest white and the darkest black of a particular device or a particular environment. Gamma is closely related to contrast, which is why it's important to work with a defined gamma ratio because if the gamma ratio is incorrect, the contrast along the response curve will be inaccurate. In a Rec. 709 environment, the EBU references a gamma curve of 2.4, recently changed from 2.3.
Note: Rec. 709 was written for the camera, and EBU has taken over responsibility for developing and recommending guidelines for applying Rec.709 to the reference monitor. The EBU has created three grades of monitors: Grade 1 is the highest standard, to replace CRT; Grade 2 is where most of the current interim monitors fit; Grade 3 is where all the other monitors fall. The EBU has set very precise guidelines for reference monitors, available on its website as Technical Document 3320
btw, if you want a Grade 1 reference monitor now
, Dolby has oneEdited by turbe - 6/12/12 at 8:42am