As a minimum recommendation, use:
Setting | Recommended value |
Codec | HEVC / H.265 |
Bit depth | 10-bit |
Chroma subsampling | 4:2:2 |
Resolution | HD 1920 x 1080 |
Bitrate | 6–15 Mb/s |
Frame rate | Match the source or agreed review frame rate |
Colour space | Match the review target, for example Rec.709 for SDR or the agreed HDR colour space |
Transfer function | Match the review target, for example BT.1886/Gamma 2.4 for SDR or PQ/ST.2084 for HDR |
These settings are recommended because colour review is more sensitive to compression artefacts, banding, chroma handling and image instability than general viewing.
Where supported, 10-bit HEVC is preferred over 8-bit H.264 for colour review because it can preserve smoother gradients and reduce the risk of banding or compression artefacts being mistaken for issues in the grade.
HD 1920 x 1080 is generally suitable for colour review and creative colour decisions. However, if the session requires critical assessment of image texture, grain, sharpening, fine detail or noise, a UHD review path may be required. A UHD review path may require a far higher bit rate as well as the use of a native UHD displayin order to avoid unwanted artefacts from compression or scaling.
Bitrate guidance
For most RePro colour review sessions, a video bitrate between 7 and 15 Mb/s is recommended.
Use the lower end of the range when:
Network bandwidth is limited.
The session needs maximum stability.
The image has relatively low motion or complexity.
The session is primarily for creative review.
Use the higher end of the range when:
The network connection is strong and stable.
The session is colour-critical.
The image contains gradients, low-light scenes, grain, texture or high motion.
HDR review is being performed.
The colourist or session host has requested a higher-quality stream.
Do not increase bitrate beyond what the available network can reliably support. A stable 10 Mb/s stream is usually more useful for colour review than an unstable 15 Mb/s stream.
Source and signal path checks
Before a colour review session, the facility team, colourist or session host should confirm:
The grading system is outputting the correct SDR or HDR signal.
The encoder is receiving the correct signal.
The RePro stream is configured for the correct format.
The colour space and transfer function are correct.
The output is not being unintentionally tone-mapped, clipped or converted.
Any LUT, trim, tone map or colour transform is intentional and understood.
The stream has been tested on the intended viewing device or display.
For HDR sessions, specifically confirm whether the viewer is seeing the intended HDR signal or an SDR/tone-mapped version.
Colourist verification
Wherever possible, the colourist should satisfy themselves that the RePro review stream represents the grade appropriately before relying on it for colour-critical feedback.
Best practice is for the colourist or facility team to view the RePro stream on the same or a similar device to the remote reviewer, placed next to the primary grading monitor or reference display. This allows the colourist to compare the primary image with the encoded RePro stream and understand any differences introduced by the encode, stream, device or display.
This side-by-side check is strongly recommended before using RePro for colour-critical review.
Where this is not practically possible, the review should still begin with a setup check. The colourist, post supervisor or session host should confirm that the stream looks acceptable on the intended review device and that any limitations are understood by everyone in the session.
If the colourist has not been able to verify the review stream, the session should be treated as creative review unless the production has approved the workflow.
Important note
Encoder settings are only one part of the colour review chain.
The accuracy of a RePro colour review session depends on:
The source output
The colour pipeline
The encoder settings
The RePro stream configuration
The viewing device
The display calibration
The network connection
The viewing environment
For final approval or colour-critical decisions, the full chain should be tested and approved before the session begins.