observation about LCD monitors for Kona

[Jim Blokland]

Hi David:

One question — is it possible to convert the HD-SDI signal off the Kona 2 to an HDMI signal? My Panasonice 26″ LCD has HDMI in (as well as component), and I’m just wondering it would be better quality to feed it HD-SDI, rather than component…

Any advice appreciated.

Best, JIM.

OSX.4.3
Dual 2.7 G5
3.5 GB RAM
Radeon X800 XT
Kona 2 / K-Box
Seritek 1.2 TB RAID
AVID XPRESS PRO/MOJO

[David Battistella]

Jim,

I would use this:

https://www.aja.com/hdp.htm

But the monitor has to do 1920×1080 resolution and check re: framerates because not all of them will display 23.98 framerates. NOt much use for that in consumerland.

David

I can’t believe it’s not butter!

[Bob Zelin]

Infohou is absolutely correct. 1280×768 is not 1920×1200, nor is it 1366×768. I am trying to STRESS the degridation of our market, and the continued “consumerism” of the professional market. The only way we will survive is to be above consumer products, otherwise, editing and professional video production will become like Microsoft Word (everyone can do it). I am anxious to see the Panasonic BT-HD1700, and love the fact that it has an HD wfm display on it, but the “concept” of the $15,000 eCinema 23″ LCD monitor is what we should strive for (not that I could ever afford this monitor). If we do not keep to these high standards, soon iMovie will be the “editor of choice”,AJA, Blackmagic and the others will go out of business, and most of us will be unemployed, replaced by the secretaries at the Food Channel (for example), because they took a 2 day course on iMovie.

Bob Zelin

[Lexerton]

We have to take responsibility as to how things are going.
How many people here do a bit of shooting, bit of editing, do their own dubs etc?
I’m guessing quite a few. Let’s face it, the money isn’t there any more. That is why we all own final cut pro and not DS Nitris.
Each time we give a producer a bit more than they are paying for, we lower the bar. We are all trying to get a bit more for a bit less (us with kit, producers with labour/skills).
The BBCs move into FCP will be interesting to watch; sure the producers can all be up and running on an FCP rig pretty quick but what of years of craft skills and experience?
The industry has always been like this. Sink or swim, basically.
I’m not saying it is right but if you don’t like change (good or bad) then perhaps it’s time to diversify?

Lex

[David Battistella]

This is not the first time that PC’s have affected an industry. The first wave of desktop publishing produced all of the exact same arguements being presented here. The next was Photographers who said that digital photoraphy would ruin the craft. Then audio professionals freaked out when people were setting up Protools rooms at home and making number one albums. (MOBY and many before and after him.

I agree that standards need to be set, but the fact is that there were movies at sundance last year cut on iMovie. This is not a wave or trend that is just going to stop. The profesionalism will come in the quality of the work and the price of services. There were bigger problems before because the business excluded people just on the basis of Price point of equipment. That put equipment only in the hands of people who could afford it, which made the programming much more narrow. More people in the business means MORE business not less business. It’s just a time to evaluate and adjust and to be flexible enough to change. There can be compromise with quality.

David

I can’t believe it’s not butter!

[Joe Murray]

I’ve heard really good things from those who have seen Canon’s SED technology in person. At least in terms of black levels.

Joe Murray

[Richard Dee]

I have used the Sony broadcast LCD NTSC monitors at a cable network I was editing for.

It basically looked like a bigger version of the canvas. In other words, useless for seeing what your image looks like.

Funny thing is on my 30″ cinema the contrastand color of canvas looks not too horribly off from the 20L5