| | | | Re: Why External Monitoring?
by Shane Ross on Nov 7, 2009 at 1:53:09 am
in the Broadcast Video Forum
[Eric Harnden] "So really it's just if you're going to TV?"
HARDLY!
[Eric Harnden] "What about film?"
A computer monitor doesn't compare to projected film at all! The same thing applies for film...same monitors.
[Eric Harnden] "Is that | | | | |
| | | | Re: Why External Monitoring?
by Andrew Kimery on Nov 6, 2009 at 10:34:58 pm
in the Broadcast Video Forum
If you do a search in the Apple Color forum here you'll find a lot of talk about proper monitoring. Basically, NLE software doesn't generate a b'cast accurate images inside the GUI, computer GFX cards don't send out b'cast accurate signals, and comp | | | | |
| | | | Why External Monitoring?
by Eric Harnden on Nov 6, 2009 at 8:35:20 pm
in the Broadcast Video Forum
Where can I learn about WHY I would need to do external monitoring?
In other words, why do I need to buy a box (like a Matrox or Blackmagic or AJA) and an external monitor?
I don't get why I need to do that.
I mean, why can't I just add anot | | | | |
| | | | Re: Broadcast Monitor for under $3000?
by Bram Desmet on Nov 6, 2009 at 6:06:29 pm
in the Apple Final Cut Pro Forum
Yes, but the LM-1770W, like all FSI monitors, is equipped with a DVI-I input. A simple HDMI to DVI cable would work in this scenario. You could also use component (HD/SD), which would be my choice in this situation.
Bram Desmet
FSI (Flanders Scie | | | | |
| | | | Re: Uncompressed 10-Bit Gamma Shift
by Neil Sadwelkar on Nov 6, 2009 at 5:11:56 am
in the Apple Final Cut Pro Forum
Shake is not part of FCS and if you don't have it you can't buy it any more.
The Resolve facility will need to linearize for you with their LUT so they can confirm it with their calibrated monitors.
If they cannot/do not, and you don't have sh | | | | |
| | | | Re: HD Monitor (Broadcast)
by Shane Ross on Nov 5, 2009 at 10:26:44 pm
in the AVID Editing Forum
I highly recommend the Flanders Scientific monitors:
http://www.flandersscientific.com/index/Broadcast_Monitors
$2500 for the 17" and $5000 for the 24". They won't break the bank.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD... | | | | |
| | | | Re: Multiple monitors.
by Alan McCormick on Nov 5, 2009 at 9:33:27 pm
in the particle Illusion Forum
Hi, I am on a Mac and the emitters work seamlessly on my 2nd monitor. No help I know but here is my graphic card details:
NVIDIA Corporation
NVIDIA GeForce 8800 GT OpenGL Engine
Version: 2.0 NVIDIA-1.5.48
Regards
Alan | | | | |
| | | | Re: Broadcast Monitor for under $3000?
by walter biscardi on Nov 5, 2009 at 8:06:28 pm
in the Apple Final Cut Pro Forum
[Kent Beeson] "What about the Flanders Scientific, Inc LM-1770W? Can a person use that to color correct and monitor 1920x180 material even though that monitor is only 1366x768? "
Yep, we do this every day. You can even monitor 2k on it. The abso | | | | |
| | | | Re: Broadcast Monitor for under $3000?
by Jeremy Garchow on Nov 5, 2009 at 7:16:23 pm
in the Apple Final Cut Pro Forum
[Shane Ross] "And does it handle SD well?"
When paired with an HDP2, the quality blew me away. I could not believe it, and I am picky.
I work with interlaced (psf) material too. I am sure the FSI monitors are great, but the Dreamcolor is unde | | | | |
| | | | Re: Broadcast Monitor for under $3000?
by Shane Ross on Nov 5, 2009 at 7:05:34 pm
in the Apple Final Cut Pro Forum
Ahhh...but only for PROGRESSIVE. And does it handle SD well?
The FSI monitors do Progressive, Interlacing (yes, they show BOTH fields) and SD well. I still work with interlaced footage, so I stand by my suggestion...and go so far as to say it is | | | | |
| | | | Multiple monitors.
by Luis Torres on Nov 5, 2009 at 1:37:20 pm
in the particle Illusion Forum
Hi folks, I'm using 3 monitors, but when I move PI for the 2nd or 3rd monitor, it doesn't refresh the PI for the new monitor and the particles and video don't work. It just works at the main monitor. Any idea what can be wrong?
How can I make PI wor | | | | |
| | | | VTRS for sale
by Lewis Lipstone on Nov 5, 2009 at 5:45:44 am
in the Classifieds, For Sale Forum
I have editing furniture, SD and HD monitors, AVID Meridiens with Dongles, Panasonic 1200A Loaded with Low Hours and XDCAM PDW-F75's for sale.
Westside Media Group
AVID, Final Cut Pro and Duplication
310-979-3500 Office
818-326-4419 Cell
Website | | | | |
| | | | Re: Monitor setup
by Bob Zelin on Nov 5, 2009 at 3:31:23 am
in the AJA Kona Forum
I only used Panasonic LCD monitors until I saw the Flanders monitors. I don't deal with close captioning, so I am not qualified to answer this question. I have no idea of what happens with Panasonic BT-LH series monitors and close captioning.
C | | | | |
| | | | Re: Monitor setup
by Chad Brewer on Nov 5, 2009 at 2:11:02 am
in the AJA Kona Forum
Bob, I'm a friend of Jeremy Garchow. Our companies work together in Chicago. Our facility has both Panasonic (BT-LH1700W) and TV Logic monitors because it seems that the TV Logic ones are the only ones doing HD closed captioning support which we need | | | | |
| | | | frame size / rendering / multiple screens / triplehead2go
by Stewart Bourke on Nov 4, 2009 at 10:38:30 pm
in the Sony Vegas Forum
I have managed to confuse myself totally about output frame sizes...
Apologies for the long post...
I have been experimenting with a matrox triplehead2go - interesting piece of kit, but I seem to have a disconnect between frame size being rende | | | | |
| | | | Monitor setup
by Tristan Olson on Nov 4, 2009 at 8:23:44 pm
in the AJA Kona Forum
Hi Guys,
First off, thanks for all of the recommendations on the Flanders Scientific broadcast monitors. I just picked mine up and it looks great. Here is my question:
I have two Apple monitors for the editor, the Flanders Scientific for gradin | | | | |
| | | | Re: FCP, Snow Leopard and Gamma
by Scott Sheriff on Nov 4, 2009 at 9:18:35 am
in the Apple Final Cut Pro Forum
[walter biscardi] "Any external monitor is better than the Viewer Canvas in FCP. We've been saying for years on this forum to never trust the Viewer / Canvas. Heck I don't ever trust the After Effects composition screen either, I only go by the exter | | | | |
| | | | Re: Color 1.5 not outputing to external monitor
by Dan Monro on Nov 3, 2009 at 10:03:43 pm
in the Apple Color Forum
I'm running into a similar problem on my work system; no output to external monitor. This is with 23.98 2048x1152 REDCODE media. In Color, I've set the render settings to 23.98 1920x1080 ProRes422 HQ. External Video ouput is NOT disabled, and the out | | | | |
| | | | Consumer HDTV with HDSDI input?
by Brian Newell on Nov 3, 2009 at 7:38:11 pm
in the HD High-End Forum
Hello - sorry if this has come up before - i couldnt find it with an initial search and im in a time crunch. Just off the top of your heads:
If i go to any big box type store selling consumer HDTVs, will i find any with an HDSDI input? Or is that | | | | |
| | | | Re: FCP, Snow Leopard and Gamma
by Erik Lindahl on Nov 3, 2009 at 3:38:06 pm
in the Apple Final Cut Pro Forum
This is true and it is best practice but does not answer my question at all, sadly.
QUESTION:
Are there gamma-issues with FCP 6.x in terms of monitoring the canvas in Snow Leopard?
From what I can see and what I've read there are severe issue | | | | |
| | | | Re: FCP, Snow Leopard and Gamma
by walter biscardi on Nov 3, 2009 at 3:23:51 pm
in the Apple Final Cut Pro Forum
[Erik Lindahl] "Not an option at home "
You know how many home based editors there are these days working with broadcast monitors, film quality projectors, 5.1 surround sound workstations and the like? Yes it is an option at home.
You may | | | | |
| | | | Re: Flanders monitors in PAL land
by walter biscardi on Nov 3, 2009 at 11:49:34 am
in the Apple Color Forum
[Jay Moffat] "This would be something that all colour critical LCD displays would presumably require? Sorry, I'm a little uninformed on the subject "
Depends on the manufacturer. Each can tell you the proper calibration schedule and techniques.
| | | | |
| | | | Re: Flanders monitors in PAL land
by Bram Desmet on Nov 3, 2009 at 11:45:01 am
in the Apple Color Forum
Hi Jay,
The primary thing that will drift overtime is the luminance, not so much the color temperature. You can offset this simply by increasing the backlight setting as the monitor ages. This technology tends to be much more stable the CRT moni | | | | |
| | | | Re: dealing with gamma
by Michael Cinquin on Nov 3, 2009 at 10:59:23 am
in the Apple Color Forum
I think that apart from Macintosh before Snow Leopard, there should not be a lot of Computer Monitors with a default gamma of 1.8. | | | | |
| | | | Re: Flanders monitors in PAL land
by walter biscardi on Nov 3, 2009 at 10:51:40 am
in the Apple Color Forum
[Jay Moffat] "For the alignment of the monitor, under what circumstances does this need to be done?"
About once per year.
[Jay Moffat] "Can the scopes be fed to an external monitor thus saving the requirement of purchasing external scopes,"
| | | | |
| | | | Re: Flanders monitors in PAL land
by Jay Moffat on Nov 3, 2009 at 10:32:18 am
in the Apple Color Forum
Hi there, a slight hi-jack, but relevant... For the alignment of the monitor, under what circumstances does this need to be done? And being a user in the UK, is there an alternative to buying a kit over here, if it is something that needs to be done | | | | |
| | | | Problem Running FCP 7 & Three Displays
by Dorian Gray on Nov 3, 2009 at 8:59:17 am
in the Apple Final Cut Pro Forum
I am trying to setup a new 8 core mac to run three screens with fcp 7. The mac is correctly set-up to run three LCD displays, with two identical graphics cards and no issues when running the usual desktop.
I have read that final cut will only uti | | | | |
| | | | Panasonic BT-LH 1700 Wide Screen Monitor
by Thomas Mazzarella on Nov 3, 2009 at 12:39:29 am
in the Classifieds, For Sale Forum
The Panasonic BT-LH1710W is a 17" widescreen monitor designed for broadcast and studio applications. It utilizes advanced processing technology to reproduce images with color and contrast qualities once found only in CRT monitors. This model is capab | | | | |
| | | | Re: HD-SDI or Component
by Clint Fleckenstein on Nov 2, 2009 at 10:18:17 pm
in the Sony EX Series XDCAM Forum
I've heard the Marshall monitors are "okay" and personally I don't like the Ikan monitors. That's why I'm looking into a JVC. The price is right, too.
Cf | | | | |
| | | | Re: New FSI 2470W features 10bit panel
by Bram Desmet on Nov 2, 2009 at 8:58:31 pm
in the Apple Color Forum
I'll answer here so everyone can see.
Units are currently in production, expected to start shipping end of November. We are accepting pre-orders starting today. Judging from other new product releases you can probably expect a backlog of a few we | | | | |
| | | | Re: broadcast monitor playback
by Mitch Ives on Nov 2, 2009 at 8:38:57 pm
in the AJA Kona Forum
[Jeremy Garchow] "FCP does not support rt playback of codecs that aren't supported by the suite, such as h264. h264 is a web delivery codec, not an editing codec. "
And this is getting less clear all the time. Right now, the h264 clips from a 5D o | | | | |
| | | | Re: HD-SDI or Component
by Craig Seeman on Nov 2, 2009 at 5:44:18 pm
in the Sony EX Series XDCAM Forum
It's actually a very important topic given the direction Sony is taking. I don't have an HD-SDI monitor but it seems Marshall are most cost effective. With the HDMI support in the EX1R one would be able to use a much less expansive iKan monitor.
| | | | |
| | | | Vegas Error When Rendering mpeg-2 custom resolution
by Michael Menefee on Nov 2, 2009 at 3:01:17 pm
in the Sony Vegas Forum
Good day, and thaks in advance for any help you can lend here.
I have a project for a client that needs to be 1360x768 for some monitors they use. I used After Effects to create the video but it is limited on mpeg-2 settings and does not allow cu | | | | |
| | | | Re: Setting up an online suite. Thoughts?
by Bjarki Gudjonsson on Nov 2, 2009 at 12:28:30 pm
in the Apple Final Cut Pro Forum
My thoughts right now are:
Could I use a Kona LHi instead of the LHe with the HDP2 converter over to the Dreamcolor display (Or should I look at something else altogether? I've used the AJA before and I've always been happy with it.
What drives | | | | |
| | | | audio forums ?
by Bob Zelin on Nov 2, 2009 at 1:58:12 am
in the COWmunications feedback Forum
Has anyone noticed that there are no AUDIO forums on Creative Cow. No Pro Tools, no MOTU Digital Performer, no general audio forums. I want to bitch about expensive Tannoy studio monitors, but there is no proper place to discuss this. Does Creative | | | | |
| | | | Re: Kona 3 to 5.1 using Hi5
by James Reid on Nov 1, 2009 at 9:25:44 pm
in the AJA Kona Forum
Sounds like a logical workflow, but...the fine print for this
on the AJA page is:
The Hi5 does not encode the HDMI output with HDCP encryption. By definition, SDI/HD-SDI inputs to the Hi5 are unencrypted. The HDMI specification requires HDMI moni | | | | |
| | | | HD High-End | Driving Toward Success
No matter how unexpected and varied the routes, the roads to success are often marked by customer service, attention to detail, and the imagination to see that success is even possible.
Feature, People / Interview
Author: Philip Garvin |
| | | | |
| | | | Business & Marketing | Heavy Iron
How can a creative business survive, much less prosper, these days? DigitalFilm Tree's Zed Saeed offers a possible solution that combines embracing new, disruptive, low-cost technologies, and investing wisely to add value.
Editorial, Business
Author: Zed Saeed |
| | | | |
| | | | HD High-End | HD Unleashed
In this review from The Creative COW Magazine, Charles Papert, SOC, sets his Steadicam free with wireless, uncompressed HD using the IDX CAM~WAVE.
Review
Author: Charles Papert |
| | | | |
| | | | Broadcast Video | Broadcast Quality at Bargain Prices
Brand new to the market and loaded with high-end features, Flanders Scientific has introduced four high definition LCD panels specifically developed for the pro market. With the help of the COW's Walter Biscardi, Jr. and senior telecine colorist Ron Anderson, Nick Griffin offers a first look at these high definition broadcast monitors from FSI.
Review, Feature
Author: Nick Griffin |
| | | | |
| | | | Cinematography | The Redrock Micro DSLR Cinema Bundle for the Canon 5D MKII
If you are using the Canon 5D MKII or Nikon D90 for their gorgeous HD video, or even thinking about it, you need to read this. Creative COW Contributing Editor Jim Harvey shows how the Redrock Micro DSLR Bundle makes these cameras even more useful for video shooters, then shows how he and other pros are using it, in the field and in the studio. Jim is enthusiastic about the possiblities it opens up, and thinks you will be too.
Review
Author: Jim Harvey |
| | | | |
| | | | Audio Professionals | ADR: Hollywood Dialogue Recording Secrets
Correcting dialogue is one of the most important parts of the old saying, fix it in post. They're part of a process called ADR -- Additional Dialogue Recording, or Automated Dialogue Replacement -- that has been going on since movies had audio, and is still being done today, from the smallest indie films to the biggest blockbusters. Here's an overview of the world of ADR, some of the Cows who are working in this field, and where to go when you are ready to ADR to your own productions.
Feature
Author: Cowdog |
| | | | |
| | | | Creative COW Magazine feedback | The Truth About 2K, 4K and The Future of Pixels
John Galt, Panavision Senior Vice President of Advanced Digital Imaging, led the team that created the Genesis camera, was responsible for the F900 Star Wars camera, and continues to play a leading role in guiding future digital cinema technologies. In this Creative Cow Magazine Extra, join us for a wide-ranging conversation, as John cuts through what he calls the intentional obfuscation of marketing pixels, and considers the range of options that are becoming available to digital filmmakers.
Feature
Author: John Galt |
| | | | |
| | | | Art of the Edit | Surgical Video: The Cutting Edge
Creative Cow leader Mike Cohen has been working on the cutting edge of surgical video for years. In this expanded version of his article in the Cow Magazines Non-Broadcast Production Issue, Mike answers some of the most frequently asked questions about these techniques from the Cow forums. Its fascinating stuff, but seriously, maybe have some breakfast before you take a look.
Feature
Author: Mike Cohen |
| | | | |
| | | | Cinematography | Focus on Controlling Depth of Field with Depth of Field Converters
Cinematographer and Creative Cow leader Todd Terry has shot countless television commercials and industrials using both 35mm film and depth-of-field converted video. In this Creative Cow Magazine Extra, from The Visual Effects Issue, learn how depth of field converters allow you to attach 35mm lenses even to video cameras with fixed lenses, how they work, and which one might be right for you.
Feature
Author: Todd Terry |
| | | | |
| | | | Art of the Edit | The Importance of Invisible Effects
Steve is a Senior Compositor and 2D Technical Director with over 20 years of production experience. His credits include over 60 films including as Traffic, Blade: Trinity,Ray, Batman & Robin, U-571, Air Force One, TV shows including Deadwood, and over 70 commercial spots. In this Creative Cow Magazine Extra from the Visual Effects issue, Steve talks about invisible effects in projects he has worked on, with ideas you can use for your own projects.
Feature
Author: Steve Wright |
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Podcasts | | | | creative cow extras podcast
Colorgrading Monitors: What Works, What Doesn't
In this Creative COW extras podcast, Walter Biscardi and Ron Anderson discuss one of the most discussed topics in the Apple Color forum, color grading and monitors. Ron Anderson is a colorist with CineFilm Atlanta. | | | | |
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