Which monitor will you use for RED post production?

[Tonaci Tran]

Which monitor will you use for RED post production?

 

[Justin Kirchhoff]

that's a good looking monitor....although, i sense some 2k monitors coming out in the near future.

with imaging getting bigger and bigger, the only thing i can see in the near future is larger formatted monitors.

 

[Jaime Vallés]

I'll probably use my regular SD 14" Sony CRT for the offline edit. The online edit and final color correcton will be left to some other post house. They'll do it better than me, and with better tools at their disposal.

 

[Evin Grant]

Apple 30", it's the only thing close enough to 4K to even work.

 

[Appleton]

I'm thinking of using a 1080p projector - possibly the Sony VW1000. It uses 3 chips, projects at 1080p, has a 15000-1 (they claim) contrast ratio.

Shoot 4K -> convert to 1080p, edit, preview, and possibly finish...

It's a brave new world, indeed.

 

[Mardi_Gras]

Intend to pretty much stick with both my Apple 30". Can't afford any other gear for now; not with RedOne and its accessories adding up like crazy.

 

[Ronnie Silos]

My Apple 30 in the middle, 2 smaller ones on each side.

 

[Simon Blackledge]

Will you be connecting the ACD 30" with an ecinema EDP100? or striaght in ?

 

[_BK]

Ive used the 24 and 30 Apple LCDs and a couple professional Sony 24 LCDs in the past. Right now Im using (2) 24 Eizo ColorEdge monitors for compositing and grading. They are hands down the most accurate color for the money.... 1/4 the price of the professional Sony and JVC models.

 

[MikeCurtis]

My 4K workflow stuff

My 4K workflow stuff

Short answer: my JVC DTV-1910CG HD CRT for color, and my Apple 23 or Dell 24" monitors for pixel detail.

Longer answer: I've got a Kona3 and a BlackMagic Multibridge in the studio already - so I can (machine reconfig depending) show 2K on an Apple 30" (oops - if I had one, only have 23's) or run a true 2K out to HD-SDI & analog component scaled & cropped.

As an interim solution, I could use BOTH - use Kona3 for HD-SDI and analog HD component out to my 19" JVC HD CRT, and then run HD-SDI to the Multibridge Extreme in standalone mode to use the DVI out to run it to a 1920x1200 display. Not 4K, but 2K.

Let's get real - 4K projection only exists at the VERY highest end of the price spectrum, and will for some time yet.

Master for what you need. Honestly, I think this entire category should simply be called "Workflow" instead of "4K workflow," because at present an incredibly small amount of work actually gets mastered at 4K and shown at 4K.

If folks can make a 4:4:4 HDCAM SR tape master, that's pretty damn good.

Just ruminating, it'd be interesting to shoot 4K and make a traditional anamorphic 2K file - 2048x1556 - and do your CC and other work with that pipeline for filmout projects. I'm sure that's easily enough done in Redcine.

Then cook proxies at SD/HD compressed for editorial.

In a face to face conversation, someone was complaining about the time it would take to run Redcine and make offline and online versions.

My response - well, yeah - it ain't realtime tape ingest, but then again, think of it as your telecine that costs $2K to own (my laptop) and nobody has to drive across to town to drop off and fetch...dailies are pretty quick!

I'm already mentally doodling up designs in my head for an Intel Mac Mini farm for Redcine processing, esp. now that they have GigE networking...

-mike

 

[Thom Steinhoff]

Seems like the multibridge extreme and an apple 30" would be great for true 2K but based on what you said, Mike, it seems that the color would not be trusted and I would need another production monitor for color? What about using eye-one or some other calibrator--will that help?

An awful lot of money between the multibridge extreme and a 30" for to only turn around and spend another 3-5K$ on a monitor for color. Is there anyone with a better solution than one monitor for pixels, one for color?

Maybe if we all pray that apple releases a new 30" Cinema Display Pro with better features, deeper blacks, and professional controls!

 

[_BK]

Apple 30 for pixels, Eizo 24 for color with a EyeOne probe (both for under $2k).... The Eizos come with their own calibration software.

 

[SF Geek]

I talked to a friend that does engineering over at ILM and she said to look into the Eizo monitor. This seems to be a no brainer for post work. The tough decision is finding a monitor that I can have on set and use at home without having to re-calibrate. Resolution is what we'll be looking for most on set considering raw data monitoring wont be color accurate. Maybe they'll have a 2k option that's also rugged come camera delivery time. We have to remember that any monitor that's being lugged onto set has to be able to take it.

I was also wondering what it would take to apply a preset LUT to a monitor output. Can you do that in camera or do you need a separate system?

 

[Tonaci Tran]

Thanks ffor the tip _BK.

 

[Joe Carney]

I'm thinking of using a 1080p projector - possibly the Sony VW1000. It uses 3 chips, projects at 1080p, has a 15000-1 (they claim) contrast ratio.

Shoot 4K -> convert to 1080p, edit, preview, and possibly finish...

It's a brave new world, indeed.

Check out the Sony vpl-vw50, half the price, same quality.

Joe C.

 

[_BK]

tonaci, that monitor is for print use and is a LOT more expensive because it can produce the full Adobe RGB colorspace. The bad thing about it for video post is its very slow refresh rate ~30ms. The CE240W is what I am using, and although it still has a bit slower refresh rate than other professional video post monitors (~8ms), the color accuracy cant be beat.

 

[Nick Shaw]

I currently have a Panasonic 17" BT-H1700P which I will use for colour critical work, and two 23" Apple Cinema Displays which I will use to see detail. Pretty similar to Mike Curtis' setup. I currently have a G5 and Decklink HD Pro, but realise I will need to upgrade to an Intel (8 core by then?) to run REDCINE. I'll probably get a Kona 3 to go with that, unless AJA or Blackmagic come up with anything better in the mean time. The Kona 3 can currently show a realtime 1080p window on a 2K FCP timeline. Who knows, by the time Red ships maybe it will be able to show a 1080p output (half scale and windowed) from a REDCODE 4K timeline, or maybe there will be a Kona 4(K) which will do so. I'm sure Ted is talking to his contacts at AJA about this kind of stuff.

Nick

 

[Thomas Mathai]

Color calibration should be most important once you determined what your final outputs will be. For most I would guess a really good HD reference monitor would be enough for HD-DVD or Blu-Ray

For those who want a D-Cinema or Film output, that gets more complicated unless you plan to use a good post house.

 

[Ben Feuer]

Rumor mills suggest an Apple 50" may be coming down the pipeline...

 

[Simon Blackledge]

Rumor mills suggest an Apple 50" may be coming down the pipeline...

only to tie in with iTV to compete with plasma/lcd tv's I heard.. Apple want to be everywhere you live/eat/sleep/drive etc...

don't think it will be 4k