Re: DI Work Flow

Not sure why everyone is pushing the Kona 3. I have the Kona 3 but - it is great for 444 RGB work and the built in LUT's work awesome for Full range to SMPTE conversions. But the Kona LHe has the same LUTs and when it comes to grading in Color there is only a single link output so the Kona 3 is obsolete at that point and dual link can only be used when playing back out of FCP. Don't get me wrong the Kona 3 has a lot of features that the LHe does not have but as far as working on a project with DPX files from another source the Kona LHe will suffice. So in answer to your first post. Your hardware and software will get the job done. As for LUTs and color conversion. You need to determine if the files you are receiving are LOG or Lin and Full Range or Header space. This will determine your set up in color and with the Kona built in LUT's. As far as monitoring goes. Your SONY HD 422 monitor will be fine. You need to calibrate it and set it up to REC 709. No need to view 444 RGB. Color only outputs a single link anyway. The amount of time and money you will spend to get a proper viewing environment will never fit your budget. Most Labs have the ability to convert REC 709 to a film out with way better LUT's then anything you can create. Obviously a LUT is ideal but if you can't afford the set up - just grade to REC 709 have the LAB do the conversion. There will be slight differences as there are colors that you will see on the monitor that do not exist on film. If you can accept a small degree of difference then this is the way to go. The nice thing about Color correcting for a film out in REC 709 is that all your TV stuff and DVD's don't need to be converted. Hope that helps. Good luck.