Thread: Imac screen calibration

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  1. #11  
    Senior Member Steve DiMaggio's Avatar
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    Quote Originally Posted by Steve Sherrick View Post
    Fair enough. As long as client is happy, that's all that matters in the end.
    yeah I work in quick turn around event films, very little corporate and absolutely no creative. When I have worked (dp) on creative we always used a real panasonic monitor and sent out for grading, just not my cup of tea, I guess my attention span is too small haha

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  2. #12  
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    Slightly off topic but I have been considering this new to be released LG monitor http://www.lg.com/us/monitors/lg-32U...hd-led-monitor that does HDR 10 and DCI-P3 95% (CIE 1976) Color Gamut and is $999 at B&H. I can use the UHD with my "trashcan" from apple, as opposed to buying a new imac since my apple display is going bad. I realize there are other options, but this seems like it might be a good choice, particularly since it does HDR. I wonder if the Spyder could calibrate it reasonably?
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    Senior Member Tom Gleeson's Avatar
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    I have used the new IMacs whilst grading usually with a Sony OLED 17'' attached and I have been impressed when comparing the colour accuracy of the IMac without any calibration. The Apple panels are very good in terms of their colour accuracy. BUT its in the rendition of blacks that the IMacs differ from a Broadcast monitor. The Apple tends to crush the very bottom of the luminance scale. If your market is mobile and computer screens this may be OK but if your market is Broadcast you end up with washed out shadows.
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    Quote Originally Posted by Steve DiMaggio View Post
    I dont need pro grade I just need better than stock, no sense in going overboard on stuff that will be viewed on cell phones and ipads...
    If that's true, then why grade at all? Why not let it just go out and look mediocre?

    There are ways of color-correcting at an affordable level, even with a calibrated display, without spending thousands of dollars. This is kind of like buying a boat: you can buy a $10 million yacht, or you can buy a $50,000 speedboat. In this case, a $39 rowboat ain't gonna get you far. If this is being released to the public and is a commercial (non-amateur) production that somebody is paying form, it deserves at least a minimal level of quality and expertise.

    And the name of your company is ColorRoomFilms?
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  5. #15  
    Senior Member Steve DiMaggio's Avatar
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    Quote Originally Posted by Marc Wielage View Post
    If that's true, then why grade at all? Why not let it just go out and look mediocre?

    There are ways of color-correcting at an affordable level, even with a calibrated display, without spending thousands of dollars. This is kind of like buying a boat: you can buy a $10 million yacht, or you can buy a $50,000 speedboat. In this case, a $39 rowboat ain't gonna get you far. If this is being released to the public and is a commercial (non-amateur) production that somebody is paying form, it deserves at least a minimal level of quality and expertise.

    And the name of your company is ColorRoomFilms?
    It was kind of in jest. Same type of joke I heard a million times when building recording studios, we put all this effort into getting the best sound possible, then someone crushes it to a mp3 and listens on apple head phones

    When I mean overboard, I mean, buying a $6K monitor when my skills are not on that level, if I had anything at that level I would send it out to be colored.

    It should be noted that I have been editing on a 15" MBP Retina, so this is a large step up for me.

    Do you have a recommendation for calibrating an Imac?

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    Last edited by Steve DiMaggio; 04-11-2017 at 10:08 AM.
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  6. #16  
    Senior Member Steve Sherrick's Avatar
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    Quote Originally Posted by Steve DiMaggio View Post
    It was kind of in jest. Same type of joke I heard a million times when building recording studios, we put all this effort into getting the best sound possible, then someone crushes it to a mp3 and listens on apple head phones

    When I mean overboard, I mean, buying a $6K monitor when my skills are not on that level, if I had anything at that level I would send it out to be colored.

    It should be noted that I have been editing on a 15" MBP Retina, so this is a large step up for me.

    Do you have a recommendation for calibrating an Imac?

    steve
    Honestly because of the color managed app side of things, you really need to either just accept the iMac as is or as mentioned earlier, use a 3D LUT in the viewer settings of Resolve. Check out DispCal (it's free) and look into getting an i1 Display Pro 3 (under $300) to get started. Then if you get into it and want more accuracy look into Light Illusion and Calman.

    As for the recording studio thing, I don't agree. My ears are not what they used to be, but I still feel I can tell a good recording from a bad one, even after being crunched down to MP3. Always start as high quality as possible and dumb it down when need be. But in your case, you don't need $6K monitor, but you may need $2K one if the iMac doesn't cut it.
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  7. #17  
    Senior Member Steve DiMaggio's Avatar
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    thanks guys again, just a joke trying to stay sane when selling preamps and mics for 10 years and trying to get the most out of my new Imac, if I didn't also buy a second unit rig and a 7" carbon fiber monitor I would probably be moving up to a separate display. At this point I am just happy to be off the laptop

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  8. #18  
    Senior Member Steve Sherrick's Avatar
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    Quote Originally Posted by Steve DiMaggio View Post
    thanks guys again, just a joke trying to stay sane when selling preamps and mics for 10 years and trying to get the most out of my new Imac, if I didn't also buy a second unit rig and a 7" carbon fiber monitor I would probably be moving up to a separate display. At this point I am just happy to be off the laptop

    steve
    The iMac isn't terrible. You'll probably be okay, especially after you use it for a while and get a feel for how things translate. And like you said, if a job calls for extravagant color hire a colorist. I'd prefer to do that anyway when budget allows.
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    Senior Member Anthony Berenato Jr's Avatar
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    Honestly, I used use a Spyder 5 Elite with some of my own settings for backlight and it's been translating very well between different mediums - including a DCP theater release. Every time I double check my calibration, my eyes are set ablaze with blue light when the calibration is turned off.

    I'm sure other have more professional means, but I'm fairly happy right now. Just turn off the ambient light sensor. Backlight at 100, D6500, 2.2 Gamma, advanced grays.
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  10. #20  
    Senior Member Steve DiMaggio's Avatar
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    Quote Originally Posted by Anthony Berenato Jr View Post
    Honestly, I used use a Spyder 5 Elite with some of my own settings for backlight and it's been translating very well between different mediums - including a DCP theater release. Every time I double check my calibration, my eyes are set ablaze with blue light when the calibration is turned off.

    I'm sure other have more professional means, but I'm fairly happy right now. Just turn off the ambient light sensor. Backlight at 100, D6500, 2.2 Gamma, advanced grays.
    thank you so much!

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