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Sony BVME250A for P3/XYZ???

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Robert Crosby
Sony BVME250A for P3/XYZ???
on Nov 9, 2013 at 2:54:40 am

Currently grading all projects on a Sony PVM-1741 for mostly REC.709 projects and love it! I'm setting up a new color suite for a production company for mainly features. These will end up going out to a DCP.

Can you view and grade on the Sony BVME250A in P3/XYZ as well as REC.709? We won't have enough space in the room for a projector and were looking at our options. Does anyone have experience with the BVM monitors?

The features I've done so far have either had the conversion from REC.709 to XYZ done at another facility or I have applied the transform LUT in Resolve.

Not worried about the price of the monitor, if we can view in XYZ.

robert crosby - colorist
http://www.vimeo.com/neptunepost/robert
http://www.neptunepost.com


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Juan Salvo
Re: Sony BVME250A for P3/XYZ???
on Nov 9, 2013 at 8:19:26 pm

If you're asking if it will accept XYZ, then yes. But so will several other displays, including the FSIs and Dolby. Now, whether a flat panel direct view display would serve you well in grading theatrical content on the other hand, is an entirely different question.

http://JuanSalvo.com
http://theColourSpace.com


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Robert Crosby
Re: Sony BVME250A for P3/XYZ???
on Nov 9, 2013 at 8:41:04 pm

Right, I was hoping to grade in REC.709, then duplicate the project, apply the REC.709 to XYZ LUT, switch the monitor to XYZ color space, then check/tweak and render. But I understand this wouldn't be as good as a projector. But would it work well? Or would I be better just to get a cheaper monitor, like a PVM, and either just apply the LUT and render RGB TIFFs, or just keep sending off to another facility where they would do the conversion and finish the project?

robert crosby - colorist
http://www.vimeo.com/neptunepost/robert
http://www.neptunepost.com


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Paul Provost
Re: Sony BVME250A for P3/XYZ???
on Nov 10, 2013 at 5:32:11 am

What you are trying to attempt is in theory possible. There are so many potential pitfalls though, and if you don't have a very thorough understanding of every part of that convoluted path, and the calibration equipment to set up and verify every step, you are way more likely to do more harm than good. Much safer to grade in a known 709 workflow an then go the dcp color space transform route which is pretty well established at this point.
If the project has to absolutely get every bit of P3 dci color and theatrical "look", then work in a proper grading theater and prepare your clients for a much higher cost.

http://www.4Kfinish.com | owner-colorist | Hollywood, CA
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