AJA IOHD vs. MOTU V3HD

[roryhinds]

there is a lot of talk about 2k ProRes but ProRes can't do 2k it can only do 1080... or am I missing something here?

 

[Mark Mannschreck]

I just made 2k quicktimes (2048X1024) from RedAlert then to Prores using source resolution... here's a (short!) 2k prores.

http://www.mediafire.com/?cvjztyvvyld

 

[Ben Feuer]

I was thinking Blackmagic HDLink for on set monitoring. It's a darn sight cheaper than either of those options. Of course that's a no-tape setup, but honestly, what can you dub RED footage to without losing gobs of quality anyhow?

So I think HDLink to a nice-sized monitor to check framing and resolution, and expose (on set) for dynamic range, lighting and don't kill yourself over color.

Then go through your offline edit on your desktop with the Kona card or equivalent, doing the best job you can with whatever equipment you have - and then, judge what remains on your budget and take it to professional post folks if you can afford it.

As for sound - I'm seriously considering a Tascam HD-P2. 100 percent Compactflash setup, and backup to multiple HDs through laptop eSATA.

My 2 cents.

 

[Jeff Brue]

A solid monitor costs more than the Red body by itself. Certainly there are reasonably priced LCD's but they are not recommended by any means for any serious post work. Monitors like the BVML230 are going to be the new standard and they run 25K. This is of course for those who take higher end post seriously. For those who can afford a desktop system for offline, I guess it is a different story. But you do have to be able to know whether your image is usable or not, and grading is critical, but I assume most will be farming that job out to professionals.

I will wholeheartedly agree with the audio statement. Nothing beats the original performance in the field, as long as it is usable. But with AES I/O you're certainly working with the best bit depth. The way it was recorded is another beast.

Thats funny to hear anyone reccomend the sony LCD BVM monitors. Um no they not that great....yes I think the old CRTs had better color depth. Yes I can prove that with a color probe and a copy of cinespace. Are any of them approaching the color depth that the Red camera captures ? Or can be graded into? No only a TI DLP projector can approach it. Remember Rec 709 is a really tiny color space.

There are a lot of options out there now for monitroring in a studio enviroment that don't involve handing sony a couple hundred k.

 

[Mark Mannschreck]

A 25k monitor with DVI-D standard... HD-SDI "optional"... Wonderful!!!