RePro can be used for remote colour review when production teams, creatives, post supervisors, colourists, executives or studio stakeholders need to review work from different locations.
This guide explains how to prepare your review session, viewing environment and device setup for the most consistent experience.
For device-specific setup guidance, see:
Before you start
Remote colour review is useful for collaboration, progress reviews and creative feedback, but it should not automatically be treated as a replacement for a calibrated finishing suite.
For colour-critical decisions, always follow the requirements set by your production, studio, post supervisor, colourist or delivery partner.
A remote review session is only as reliable as the full viewing chain:
Source output
Colour management
Encoding
RePro stream configuration
Device capability
Display calibration
Network stability
Viewing environment
If any part of the chain is unknown, unapproved or unstable, the session should be treated as a creative review rather than a final colour approval session.
Recommended use cases
RePro is suitable for:
Live colour review sessions
Remote supervised grading sessions
Director, DP, producer or studio review
SDR and HDR viewing workflows
Post-production, editorial, VFX and finishing review
Secure review where content should not be downloaded locally
Review sessions where multiple stakeholders need to watch the same live feed
For final colour approval, confirm the required workflow before the session.
Creative review vs colour-critical review
Not every review session has the same purpose.
Creative review
Creative review is used to discuss the overall look, mood, intent and direction of the grade.
This may include comments on:
Overall brightness
Contrast
Saturation
Skin tone direction
Scene matching
Creative intent
Continuity between shots or scenes
Creative review can usually tolerate a wider range of remote setups, provided everyone understands the limitations.
Colour-critical review
Colour-critical review is used for decisions where accuracy matters.
This may include:
Final colour approval
HDR approval
SDR trim approval
Studio or platform review
Technical checks before delivery
Confirmation of colour transforms, trims or display rendering
Colour-critical review should only take place when the display, viewing environment, stream, colour pipeline and device setup have been approved for that purpose.
SDR review target
For SDR review, the production should normally be monitoring against the agreed SDR mastering target.
A typical SDR reference target is:
Setting | Target |
Colour space | Rec.709 |
White point | D65 |
EOTF | BT.1886 / Gamma 2.4 |
Peak luminance | 100 nits |
The source output, RePro stream and viewing display should all be aligned to the same SDR target.
HDR review target
For HDR review, confirm the mastering and monitoring target before the session.
A typical HDR review target is:
Setting | Target |
Colour space | P3-D65 |
EOTF | PQ / ST.2084 |
Peak luminance | Production defined, commonly 1000 nits |
White point | D65 |
HDR review is more sensitive than SDR review. Display capability, tone mapping, peak brightness, black level, viewing environment and calibration all have a major impact on what the viewer sees.
Do not assume that an HDR-capable device or display is suitable for HDR colour-critical review.
Display and device requirements
The review display should be suitable for the intended review format.
For SDR review, the display should be capable of consistent Rec.709 monitoring at the agreed luminance target.
For HDR review, the display should be capable of the required HDR format and should be approved for the production’s review workflow.
Where possible, use:
A calibrated professional reference monitor
A supported iPad Pro configured for colour review
Apple TV connected to a calibrated display
A computer connected to a calibrated display
Avoid using uncalibrated consumer displays for colour-critical decisions.
Calibration
Calibration is one of the most important parts of remote colour review.
A device being high quality, factory calibrated, OLED, HDR-capable or “professional” does not automatically mean it is correct for your production’s review workflow.
For colour-critical review, the display should be:
Suitable for the review target
Calibrated to the agreed standard
Checked in the environment where it will be used
Used with image processing disabled where appropriate
Rechecked if settings, room conditions or signal paths change
If calibration has not been confirmed, the review should be treated as creative review only.
Viewing environment
The viewing environment affects colour perception.
For best results:
Review in a controlled room.
Avoid direct sunlight on the screen.
Avoid strong coloured lighting.
Avoid brightly coloured walls near the display.
Keep room lighting consistent.
Avoid reviewing in a café, car, train, production office or other changing environment.
Sit directly in front of the display.
Avoid reflections on the screen.
For colour-critical review, use an agreed viewing environment wherever possible.
Network recommendations
Colour review requires a stable connection.
For best results:
Use wired Ethernet where possible.
Use a strong and reliable Wi-Fi network if Ethernet is not available.
Avoid congested public or guest networks.
Close unnecessary applications.
Avoid running large uploads, downloads or video calls on the same network.
Join early to confirm playback stability.
If the stream buffers, drops quality, loses sync or becomes unstable, pause colour-critical review until the issue is resolved.
Session setup checklist
Before the session starts, the host, facility team or colourist should confirm:
Correct source output from the grading system
Correct SDR or HDR signal path
Correct RePro stream or channel
Correct frame rate
Correct audio configuration, if required
Correct device and display setup
Correct viewing environment
Whether viewers are seeing SDR, HDR or a tone-mapped version
Whether any LUT, trim, tone map or colour transform is being applied
Whether the session is for creative review, technical review or final approval
For HDR sessions, specifically confirm whether viewers are seeing the intended HDR signal or an SDR/tone-mapped version.
Joining the review in RePro
Open the RePro app or RePro web link.
Sign in using your approved account.
Complete 2FA if required.
Select the correct organisation.
Select the correct project.
Select the correct channel or programme.
Confirm with the session host that you are viewing the correct feed.
Confirm whether the session is SDR or HDR.
Confirm whether the feed is live, delayed or using DVR playback.
Wait for the stream to stabilise before giving colour feedback.
When not to make colour-critical decisions
Do not make colour-critical decisions if:
The display has not been calibrated or approved.
The viewing environment is unsuitable.
You are unsure whether you are watching SDR or HDR.
The stream is buffering or unstable.
The image has visibly dropped quality.
The wrong channel or source may be selected.
The device settings are unknown.
The display is applying unwanted processing.
You are viewing a tone-mapped version but commenting on HDR.
In these situations, pause the review and resolve the issue before continuing.
Security guidance
Only use approved devices and accounts for colour review.
Do not:
Share your access link.
Record the session.
Take screenshots or photos.
Download content unless explicitly approved.
Forward review links to anyone else.
Review content in a public place where others can see the screen.
If your device is lost, stolen or accessed by someone else, notify the production or RePro administrator immediately.
Summary
RePro supports secure remote colour review for live SDR and HDR workflows, but the accuracy of the review depends on the full chain.
For creative review, a well-configured remote setup can be very effective.
For final approval or colour-critical decisions, the production should confirm the approved workflow, device, display, calibration and viewing environment before the session begins.