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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 :)

Matrox MXO and MXO2 test

The Motion Excellence 240. If you need more cine than broadcast, go for the 260.
 
nomad said:
but it can not be calibrated fully automatically via SDI, only via DVI.
Click to expand...

MMm...so where is the advantage of hardware calibration if can be done only in the input that you are not going to use? (off course i am supposing to use SDI out From a card like kona etc...)


If you need more cine than broadcast, go for the 260.
Click to expand...

Why?...wider gamut...?

What is the price for those 2 monitor?

and your opinion?

Thanks

G
 
SDI can be hardware-calibrated, just not fully automatically (they are working on it).
Yes, the 260 is wide-gamut. It can be calibrated to Rec709, but not as precisely as the 240.

IMHO they are good value for the money, but they don't have the deep blacks of monitors costing up to 8 times more…

The 260 is around 5K€, the 240 around 3.5 – both including calibration hard- and software.
 
nomad said:
SDI can be hardware-calibrated, just not fully automatically (they are working on it).
Click to expand...

may i ask how?

Thanks for the opinion...i am looking for a good monitor too...

Actually i am really curious about the new Eizo :they are coming out with 2 monitor , and one will be dual link SDI...be i think they have not announced the price (if will be 5K would be fantastic!)

g
 
Currently you have to watch the output of the colorimeter while tweaking the values.
 
...??? sorry i did not understood...Consider that i have an eizo so i am used to attach the spectrophotometer (probe)...open up the calib software , choose the value ...press start...

I am wondering how the patch arrive to the monitor through the SDI input...

I am Sorry if is a stupid question...

G
 
Not a stupid question:

It will work as described for the Eizo via DVI.

For SDI you start the software and watch the values while tweaking. Maybe you should contact them directly to see how far they got regarding semi-automatic calibration.
 
x-rite probe works like that with HDSDI connection. As long as you can calibrate it, it is not really bad thing (I guess comparing to DVI with automated procedure and colorsync profile feature, it does spoil us).

Quato looks very interesting. How much are they? I checked around but none came up in search. Also, I'm looking into new Sony LCD master monitor the BVM-L170.
 
Kaku Ito said:
x-rite probe works like that with HDSDI connection. As long as you can calibrate it, it is not really bad thing (I guess comparing to DVI with automated procedure and colorsync profile feature, it does spoil us).

Quato looks very interesting. How much are they? I checked around but none came up in search. Also, I'm looking into new Sony LCD master monitor the BVM-L170.
Click to expand...

Ok i have explained myself badly...I mean what card are you running to enter in the monitor in SDI?

If you have an nvidia sdi i can understand perfectly , what i do not understand is how to do it having an sdi card like the aja kona?

thanks

G
 
In the case of x-rite with external video connection, software can tell you to manually adjust the brightness, contrast, RGB gain and bias up and down to calibrate.
 
Ok but how the patch arrive to the monitor if my only SDI out is the aja kona card that not extend the desktop???...or it does???

G
 
A hardware-calibrated monitor like the Quato is calibrated via USB inside the monitor electronics, not in the video card.

For further info and US dealers, please check www.quato.com.
 
Nomad ,

the usb is to change the value inside the monitor automatically...

the probe need to read some patch on the screen, than the software elaborate the value and give the settings to the monitor through the usb...

The eizo hardware calibration works like that

My question is: If the monitor is not connected at the video card , how the calibration software can send the patch?


G
 
Video hardware route won't be able to use colorsync profile scheme, so what I do is to use SpyderTV which let you set the parameter of the monitors from DVD samples they provide. I use mpegstreamclip to convert that to uncompressed video then play it back from FCP timeline during the calibration session.
 
That is smart!!...

but be careful whit the conversion ...the patch have specific value..and if any kind of color conversion is involved during the conversion you loose the patch....

G
 
Gabriele Turchi said:
That is smart!!...

but be careful whit the conversion ...the patch have specific value..and if any kind of color conversion is involved during the conversion you loose the patch....

G
Click to expand...

I spent some time to compare the original SD material and the converted HD material before I started using.
 
Testing is needed in most cases. I found that even different SDI outputs are not fully identical in their values – even if they should…
 
nomad said:
Testing is needed in most cases. I found that even different SDI outputs are not fully identical in their values – even if they should…
Click to expand...

It seems nothing is absolute.

I had various clips including some photo files and comparing the output from FCP and Color through Multibrdige Pro.

FCP timeline:blackmagic 10-bit RGB 4:4:4
FCP output choice:blackmagic 10-bit RGB 4:4:4

Color video output:blackmagic 10-bit RGB 4:4:4
Force RGB:on

I could make both FCP and Color output on Multibrdige Pro pretty close.

But then I can't render in Color as blackmagic 10-bit RGB 4:4:4 since it doesn't show up in rendering option. Please BMD, make it work.
 
Now with the above setting, after you render the clips without doing anything in Color, with Kona 10-bit 4:4:4 then output through Multibridge pro looks different from the original FCP timeline with blackmagic 10-bit RGB 4:4:4 since they are now transcoded to Kona 10-bit 4:4:4. That's too bad but, if you are going to trust or take them as is at how they look with kona codec, then I found out that by sending the Color grades to FCP by simply choosing "sent to FCP", then the timeline on FCP from Color can look identical even with Multibridge Pro output. Make the story short, Kona 10-bit RGB 4:4:4 in Color looks identical in FCP.

I think I can settle with that. Blackmagic 10-bit RGB 4:4:4 is strange one that when it is selected in the timeline's compressor, it turns the choices "off" on the video rendering quality. I guess it forces 10-bit RGB processing (or wrapped RGB in YUV)?
 
So I've been chugging along with the MX02 and not having any problems. I decide that I want to ingest and edit REDCODE in FCP and get through that process without many problems, except now when I play back the footage it looks fine in the preview window, but the Monitor will only play a freeze frame.

Anyone seen this problem while using the MX02?

Thanks,
J.D.
 
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