-
Best way to monitor with FCPX–what’s your take
Folks:
In my early reading about X last year, there were a number of articles that indicated that the way X handles color and video information is quite different than previous methods. Bottom line, my understanding was that monitoring from a a built in mac monitor such as that on a MBP or iMac or Apple Cinema Display would yield results that would equal a broadcast monitor.
https://www.philiphodgetts.com/2011/09/fcp-x-color-management-secret/
So:
What are your thoughts about this? Make sense? Fuggedabboutit?
And if this makes sense, how do you best calibrate the Apple monitor?
FWIW, I had previously been using a Matrox MXO 2 with a nice Samsung for critical evaluation.
-
38 Replies
-
[Michael Hadley] “FWIW, I had previously been using a Matrox MXO 2 with a nice Samsung for critical evaluation.”
Why not keep that setup?
Matrox has FCPX drivers.
-
Well, that works for my tower-based system. But a second system is being driven by a laptop. An Acer monitor for workspace, and the MPB monitor being used to show viewer.
Based on Hodgetts’ comments, it would seem that the laptop screen is indeed OK for critical viewing but wanted to get some other expert opinion. And if there was a agreement, what is the best way to set up the Apple screen/monitor for viewing.Not a problem to get a second MXO. Matrox is a good company with good support. That said, every couple of weeks the calibration jumps the shark for some reason and necessitates a call to support. At least that’s what would happen regularly with FCP 7.
-
[Michael Hadley] “Well, that works for my tower-based system. But a second system is being driven by a laptop. An Acer monitor for workspace, and the MPB monitor being used to show viewer.”
What kind of MBP? Does it have ExpressCard or thunderbolt? If so, you can use the MXO2.
The problem with suing the Apple monitor only, is that I doubt that you will get the correct gamut out of the DVI. You need to send real SMPTE video to the monitor, not full RGB.
Jeremy
-
Well, that’s what I thought. Until I read Hodgetts article–which is admittedly insanely technical. But X really does handle color space different.
As well, I have read a number of post by editors who have run side by side comparisons with blackmagic and mxo rigs vs output to ACD or on iMac and to their surprise they did not notice a difference.
Sounds to good to be true but wondering if others have any actual experience with this…
Thanks!
-
[Michael Hadley] “Sounds to good to be true but wondering if others have any actual experience with this…”
The color might be there, it’s the black and white level that doesn’t make sense.
Also, interlacing won’t be handled properly.
Jeremy
-
Remember that color accuracy is only one part of what makes monitoring necessary – you are also looking for interlacing, motion artifacts, under/overscan, etc.
The ColorSync inclusion is a bit of “aha!” magic on Apple’s part but you still will not see field/frame issues and you are (usually) limited to 8bit color depth.
Jack Guthrey
Carolinas Account Representative
Marshall Graphics Systems -
ColorSync is a nice marketing idea, but it’s not accurate for video in actual practice. What you see on an Apple Cinema or any other computer display does not match what you’ll see on an SDI feed to a broadcast monitor. X seems to be closer than 7, but in my own side-by-side experience, the viewer in PProCS6 is actually closer to what I see on a broadcast display than the image on the viewer in X. The main differences continue to be in gamma and black levels.
– Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com -
Thanks everyone for the input. Now here’s a question:
Most of our deliverable are non-broadcast. Either for web usage or Pro Res projection. In which case, is broadcast monitoring still the best standard for critical grading—or do we just tumble down the rabbit hole?
-
[Michael Hadley] “Most of our deliverable are non-broadcast. Either for web usage or Pro Res projection. In which case, is broadcast monitoring still the best standard for critical grading”
I would think that the goal is to monitor on the best version of the screen that your clients could see, while doublechecking on the worst.
That is, web colorspace is different from broadcast that I’d think you’d want to monitor on the best COMPUTER monitor you can, and cross-reference a phone – especially if your clients are intentionally (rather than opportunistically) delivering on multiple platforms.
Same thing for projection. You can START on a broadcast monitor, but again, the colorspace of likely projectors is different – in many cases, it will be closer to a computer than a TV or film. But there’s a reason why a lot of grading for projection is done with projectors. No matter where else you start, you have to include that as part of your process, hopefully in situations close to those your audience will see it in.
But that’s what I’m getting at. Broadcast monitoring/reference monitoring is a huge deal if it’s relevant to your audience. It doesn’t sound like this will always be the case for you.
Right?
Tim Wilson
Vice President, Editor-in-Chief
Creative COW Magazine
Twitter: timdoubleyouThe typos here are most likely because I’m, a) typing this on my phone; and b) an idiot.
-
You probably need to define projection. For example, if you mean the client is playing it out through Keynote or PowerPoint via DVI or VGA to a projector, that’s one thing. If you mean playing the file from a KiPro as SDI to a projector, that’s quite a different matter.
Oliver
Oliver Peters Post Production Services, LLC
Orlando, FL
http://www.oliverpeters.com
Reply to this Discussion! Login or Sign Up