Intensity Pro and Spyder 3
currently own an Apple MacPro (2.66 Quad) and run FCP and Sony Vegas 8 (via Bootcamp) and am running an Intensity Pro card out to an external monitor for SD color work.
I recently purchased a VIZIO 22" VA22LF (1808P) LCD, that I want to use for HD color grading.
In order to properly calibrate it I was thinking about purchasing a SPYDER3TV colorimiter. However it calls for using a DVD player to follow the instructions and run the calibration from.
I want to run the DVD in the computer via Quicktime and was wondering if I am able to output from Quicktime Pro to my VIZIO either by Component, or preferably HDMI?
So is it possible to output via Quicktime to an external monitor via HDMI and the Intensity Pro card?
Thanks in advance,
Unfortunately, it's not possible with Quicktime as ironically, it does not provide Quicktime VOUT required to address 3rd party video hardware.
Also, the Spyder should be generating a Colorsync profile for you monitor but that will not be useful when the monitor is not connected to your graphics card.
So if I was to hook up a DVD player via HDMI to my VIZIO TV, and run the SPYDER on the VIZIO monitor, then calibrate accordingly. Would my monitor be accurate when running via HDMI from my computer (FCP or Vegas 8)?
Or, since it's coming from a different device for calibration purposes (DVD via HDMI instead of computer via HDMI) will the image shift and look different.
it will be different because its a different source. i assume that you are talking about Datacolor's device for calibrating video displays and not computer displays like BMD inferred in another post.
i tried to something similar using the old Spyder TV (i think they've been rebranded as Spyder 3's which is confusing). i ripped the color test frames off the DVD and put them in a Final Cut timeline. then TRIED to use the Spyder TV software to set the calibration on the LCD monitor. after trying the Spyder TV in both home theater and editing environments, all i can tell you is its crap. it was never able to properly calibrate and the settings it would settle on were always worse than what i could do by naked eye. the software would chart these 2 line graphs where the ideal setting would be where the 2 lines intersect, yet i had many monitors that never came close to intersecting, thus negating the whole process. i read such glowing reviews of the product, but then realized that these reviews were probably written by average joes and not people who deal with color for a living. Datacolor also wont take returns on calibrators thinking that you will just calibrate and return.
for video and editing monitors (and video projectors), i've have the best luck using just regular video bars (either in Final Cut or a THX calibration DVD) and THX blue glasses, which is just like the blue only setting on a broadcast monitor. thats it. no fancy hardware or software. just your own eyes. i also have a Spyder 3 for computer monitor calibration, but for any video monitors i go the THX route. it takes a bit of practice to set the contrast and brightness this way, but using the glasses to set color and tint is dead simple.
Eric Hansen, The Audio Visual Plumber - http://www.avplumber.com
I have a FCP system on a MacPro. Primarily, I've been shooting SD Projects and my primary video monitor is a PVM-14M2U. I have my first HD commercial and I would like to close-to "accurately" monitor the video in HD. I'm going to buy a Black Magic Intensity Pro Card. I can't afford even the entry-level broadcast studio LCD's. So, reading this thread I thought I could buy a good "LCD-HDTV"(Sony, Samsung-Two Saturated) and calibrate using the "Blue Glasses" or Wratten Filter #47B. Tell me what you think! I don't have $1500-$3000 to buy the "Real Deal!" Thanks!
i wouldn't do any color critical work with a consumer-grade monitor. people ask me all the time what brand or model monitor to buy, and i don't know. there's too much variance. the problem with consumer models is usually things like inconsistent build quality and setup, and quick drift.
go over to the Apple Color forum and look over there. there's a few LCDs from Panasonic and others that the colorists seem to like for client monitors (although, they're not color correcting with them, just matching them as close as possible to their broadcast monitors). for color correction i like the monitors from FSI and i've heard good things about using the HP Dreamcolor. these should both be cheaper than LCD broadcast monitors from Sony, Cinetal and the like.
if you want to keep using that Sony monitor you can. you can have an HD monitor see things "on the big screen" but keep a smaller broadcast monitor for color critical work. this is pretty common. i would suggest sending it out for maintenance if you haven't in awhile. when i used to have a Sony 20L5, i would send it to Sony every 12-18 months for regular maintenance.
Eric Hansen - http://www.erichansen.tv