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  • Hey all, just changed over the backend after 15 years I figured time to give it a bit of an update, its probably gonna be a bit weird for most of you and i am sure there is a few bugs to work out but it should kinda work the same as before... hopefully :)

DreamColor LP2480zx and Scratch

Ymmv

Ymmv

Glenn makes several observations I share and brings up several cogent issues I chose to ignore for brevity. In any case, I am getting a DreamColor and I will post my personal impressions to the forum in hopes it may assist someone in choosing a monitor.

In terms of 10 bit vs 8 bit there has been many years of effort put into getting the best possible results from an 8 bit panel. It may take a while before the engineers can optimize dithering and other key elements in the presentation of the image for the human eye with the added available precision of 10 bits. My understanding of mathematics and visual science leads me to believe the extra 2 bits really will make a difference, time will tell if I am right or wrong about that.
 
Guys maybe stupid question:

SDI 10 bit uncompressed(yuv single link.... RGB dual link).....
DVI 8 bit....uncompressed RGB?
Dispaly port 10 bit RGB uncompressed ????

PS:sorry , but may i ask again if the fact that my color gading is going to be printed on film influence the choice of the monitor?
I mean for film out the monitor have to calibrated in the same way as for broadcast (rec 709) + LUT to emulate the Film?


Thanks

G
 
Thanks i'll do it

may i refer to your name?

so this means that there are particular consideration that have to be done about the monitor for Film out..?Or that he have a working workflow for that, so it would be a useful experience to listen..?

Thanks

G
 
About calibration

as i said i am coming from Phot retouching and printing

In my workflow i use to set my Eizo at 90cd/m2 5700K

What is the specification for REC 709 ? I mean , when you guys calibrate your monitor for broadcast grading do you choose the brightness value , color temperature...and what else??

Maybe for Film Out grading should set with less brightness value (like photography?)
And maybe a lees contrast monitor could be better?....or this is a stupid idea because the value of the contrast it doesn't mean super contrasty images...????

PS:The Gamut of Rec 709 is larger than sRGB ?


I know that i have asked a lot of question but anly you guys that have experince with that monitor can help me...


Thanks


g
 
This is a massive subject dude.

talk to motionfx.

basically with grading fro film you want to grade wysiwyg like you do with print.

you grade with a viewing LUT applied. This shows you how it will appear on film. You then render out with no LUT once graded. Kinda like grading with rose tinted glasses, or in photoshop working with Proof Colours switched on with the correct proof setup selected for your priniter.

Getting the correct LUT is not easy or cheap.

Video rec709 is best done via sdi to a proper crt or highend lcd.

s
 
Thanks Flameop

I'll talk to that Guys

so is like i thought ...just a viewing LUT (like a proof color in photoshop is a perfect example!)

Mmm...How create have that correct LUT i 'll think about it at the right time (i mean after have the system...)


So you are saying that the monitor should be the same and calibrated in the say way for REC 709?

by the way what parameter have Rec709 ? Brightness , gamma , temperature? (and off course the monitor should have a panel with a enough gamut to cover that space..right?)

Blair s. Paulsen : How do you calibrate your Ecinema?

Thanks

G
 
Cienespace was in my list..

Thanks a lot
PS: i wrote to evangelos

Guys but the eCinema have a hardwrare calibration like the eizo?

I mean using a spectrophotometer (probe) collegate to the monitor , than by a software choosing the settings like brightness value , gamma value ,etc...and than is all automatic?


Thanks

G
 
Simon (flameop), thanks for your kind words,

I'm having the same problems as you guys, I have to find a proper monitor. My last FW900 CRT has just being dead... A client from Israel Ido Korila just got one refurbished... He tried to calibrate and profile a JVC broadcast LCD and it wasn't successful to much decoupling error, thats lack of gamut... The FW900 was just one day of attention and evuala the profile is almost perfect...

The EIZO CG241W didnt make it, the JVC DT24 didnt make it either...

The best profile until now its from the projector JVC DLA-HD1 connected to an ATI 1900 card threw a DVI to HDMI cable... The new JVC DLA-HD100 with HDMI 1,3 (10bit RGB) is super...

I see the Dreamcolor, because of the 1,3 HDMI, as a possible contended but I dont have it in hand to test it I will request a demo from HP... but whatever is reaching the 3K euros mark it make s more sexy to have a projector (even in a close distance) because you have reflected light and not transmitted... the reflected is better because you have the same form of light as the film projection...

As for LUTs and film out as I said in the past there is NO generic LUT for film out that will give an acurrate (98%) representation of what you will see in the projection.

LUTs are created specifically for your display device and they are good for couple of days, if you don't turn off your monitor... even as a sleep mode.

If you use generic then its expected a 60% accuracy if you are lucky... same will claim better performance, but I being there done that, and its bad really bad...

LUT's are depended on filmrecorder/developing-lab/negative-emulsion/positive-emulsion relation and its very hard to make that relation 100% repeatable. So as I have said if you want to do a filmout with custom LUT's you have two solutions either go to your filmout facility and do the grading in their calibrated viewing room and pay the premium or partner with a LAB that is willing to transfer to you all his know how in color managment and get from him the LUT's.

We are doing the last one, we offer the know how for a very small on time fee and then we supply free LUT's for your sessions and we print your film in our recorders... Lasergraphics and Arrilaser... CRT for camera negative and Laser for internegative. All that in a very competitive pricing.

Thats it, simple... my email is Lakis@motionfx.gr Gabriele...

Attached are the Cinespace decoupling errors from various clients around the world, first two are from the FW900 then its the EIZO CG241W then the JVC DL24 and then the best performer the JVC DLA-HD1 projector...
 
I really dug this thread, but there were a ton of 'I'll try that out and get back to everyone' and it's been awhile...where'd those reviews go?
 
Waiting, hoping, dreaming (apologies to Buddy Holly)

Waiting, hoping, dreaming (apologies to Buddy Holly)

Actually, my vendor has my DreamColor at their shop. I saw it last week running at 8 bits and looking decent. Right now the lead tech guy is waiting on a Blackmagic card he hopes will deliver a 10 bit signal over HDMI derived from the HD-SDI daughter card on the nVidia 5600 GPU.

More news when I have some.
 
Is there a currently produced equivalent to the FW-900?
 
Do you feel the FW-900 was especially good, or were most of the very high-end CRT's in the same class?

EIZO, NEC and Samsung also made top-of-the-line CRT's. Just wondering if you feel one of those could compare to the FW-900?

Thanks much.


P.S. This new NEC looks promising for around $300, however its 1600 X 1200 resolution is considerably less than the FW-900's.

http://www.newegg.com/Product/Product.aspx?Item=N82E16824002090
 
One thing I really don't understand is do you have to use HDMI or HD-SDI to drive a monitor?

If I pick up a used high quality CRT computer monitor (like the Sony FW900), it will only have a D-Sub input. Can't I just run a wire from port two of my video card to the montor's D-Sub connector and be good to go?
 
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