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Broadcast monitoring experience Matrox/BlackMagic
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I just found that 60fps footage doesn’t switch on the Matrox. Looks like it is playing back at 29.97.
Humm. Perhaps it is because the Matrox has a 1080i (interlaced) settings while the Blackmagic does not. Maybe the Matrox, or FCP rather, is introducing a pulldown to play 24p properly.
(BTW. 29.97 is far less nauseating than 60fps. This is actually a pretty nice feature as you can see how bad 60fps looks on the FCP viewer and how nice it looks to be converted to 29.97 on the A/V out monitor. As you can see I’m not opinionated or anything about high frame rates).
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T. Payton
OneCreative, Albuquerque -
Hi all,
Just wanted to thank you again for your input. After trying both for a couple of weeks, I decided to go with the Matrox. It is more expensive (silly expensive) and not quite as slick as the Blackmagic Mini Monitor. But the Matrox handles my workflow better.
The Matrox allows playback a range of frame rates, 23.98, 24, 35 and 29.97 without having to change settings of relaunch FCP X. Plus I couldn’t give up my CRT monitor as you can see from the screen shot below (it’s under the Perry the Platypus)
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T. Payton
OneCreative, Albuquerque -
It makes me so happy that you can’t let go of your CRT. I still use my L5/1 all the time. Love CRTs.
Michael Garber
5th Wall – a post production company
Blog: GARBERSHOP -
Mine is in horrible shape. I had a CRT repair guy give it to me back when they were going for $1000+. The transformer must be bad because it buzzes when it is on. Plus there are white horz. lines near the the top of the screen. However the color is good and it is super sharp!
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T. Payton
OneCreative, Albuquerque -
Exactly. I still use mine to color and it’s the only/best way to make sure interlacing is correct. Unless I spend 3k on a Flanders Scientific or similar priced monitor.
Thanks for the detailed notes on the Blackmagic vs. Matrox. I ended up with an Ultrastudio Express, but same issues with inability to downconvert inside the box. Good to know Matrox is another option.
Michael Garber
5th Wall – a post production company
Blog: GARBERSHOP -
Is that small CRT on the right high def broadcast-quality monitor? If so, what’s the model? And is that big screen the Samsung you once mentioned? I’m still not happy with the small Samsung I’m using with my MXO2 Mini. It’s OK, but just OK. Even commercial Blu-Rays played back on it are nothing about which to brag. I’m still searching for the best, “poor man’s” monitor to use with the MXO2; i.e. something around two grand.
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Actually the CRT is a standard def 15 in. Sony broadcast monitor. Nothing special. Blue only let’s me get in the ballpark for color.
My LCD is a 47″ Best Buy brand monitor. El cheap o. I think it was $480. I got it because you can turn off all the crazy extras like “dynamic contras” and sharpening that you see on consumer TVs. It is by no means color accurate (I use the CRT of that) and simply a client monitor but it is definitely in the ballpark with the Matrox color calibration.
Since the financial crash in 2008 I have done a whopping total of 1 broadcast spot. Everything else is destined for the web DVD, BlueRay or theater. Those mediums are frankly all over the place as far as color consistency.
I have a fairly simple method of color correction. I will correct it to the best of my ability technically at my edit station at the office.. Then I will watch it on the screens I normally watch. That means YouTube on my Apple TV at home, a DVD in my MacBook Pro, or on my iPad. I can instantly identify color problems when I see it on the screens I am used to. The other thing I do is rip movies and shows and bring them into Final Cut and watch them on my broadcast monitors, paying careful attention to levels and the scopes. That gives me a good benchmark and guide to shoot for when I correcting.
I’m also a firm believer in reference material. I’ll import stills and footage from looks that I like and match it by eye and the dual viewer scopes in FCPX (which as far as I know is the only app that has it.)
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T. Payton
OneCreative, Albuquerque -
Thanks for the amplification. I do much the same. My shows are burned to Blu-Ray, AVCHD and standard DVDs for presentation before audiences or at home. I do my best to calibrate my FCP X monitor and watch the FCPX scopes, adjusting things with the Color Board. At some point, though, refinement is mostly by eye. The little Samsung to which I output via HDMI is adjusted (again, by eye) to sorta kinda match what I judge to be “average.” Unlike your larger HD, it doesn’t seem as flexible to the Matrox calibration tool with some tweaks simply not available. However, when I asked Matrox tech to recommend a specific, affordable screen, the reply is that they use several (unidentified), consumer-level sets so, nothing particularly special. With the many MXO2s and Intensity Pros out there, one would think that one or two models would emerge as most recommended. Sets, like yours, which permit the user to turn off all of the ambient light auto-adjustments, backlighting, etc. and fully accommodate the Matrox calibration process. As it is, I guess it’s trial and error to get in the ballpark. Frankly, for the stuff I produce, I’m not as worried about spot-on color rendition as I am brightness and contrast. While I understand that TVs in the home environment are adjusted to appeal to a broad range of tastes, settings for commercial DVDs are such that they look pretty good across a wide spectrum. That’s the ballpark at which I’m aiming.
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What do you think is better: The Mini Monitor from Blackmagic or the Shuttle Intensity Thunderbolt?
Thanx.
Sascha Engel
TIME BANDITZ Productions
http://www.youtube.com/taikang
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