Bjarki Gudjonsson
Forum Replies Created
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Hi Geo.
I just wanted to let you know that I was in your exact position. The thing is with the LHi and the DreamColor that, it’ll always work per se, but if you want to make sure you’re in Rec.709 or Rec.601 (for SD material), you don’t have to think twice – get the HDP2.
I gave it a test run where I had 1080i25 material on a timeline in FCP. Setting the Kona to progressive output enabled the DreamColor to maintain Rec.709, but the conversion quality wasn’t great. I also tried a few ways to get SD out to the DreamColor in Rec.601, but no dice. So I decided to go for the HDP2 and voila, everything works great. I can’t recommend it enough! The conversions are beautiful and the clients love it.
So, as has been mentioned before – if you work with ANYTHING other than progressive HD material get the HDP2.
Bjarki
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Just got and configured the HDP2. Loving it! Everything is in Rec.709 now and I can use the Kona’s HDMI output for a client monitor. Not cheap, but works great!
B.
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I’m just wondering wether I can calibrate my HP LP2475w monitors and Apple Cinema Displays using the same tools. If so, I think it’s not a bad deal.
B.
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I was just thinking about it. Can I use the same probe for other monitors?
B.
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Just ordered it. Along with an Apple iPad. Thanks for the help, Jeremy!
B.
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Hi Miguel.
I do a lot of this on a show I work on, and there are a few options. If you have all of your material on two workstations, simply send projects back and forth. The reconnects should be straightforward if you’re managing your media properly.
You might want to make sure that you take care of each segment of the show, so if your junior editor is working on a certain part, you can be doing something else and then implement his additions later on.
Hope this helps,
Bjarki -
I’ve been looking around for info on the HP 2475w, and it’s good to know that it’s Avid’s recommendation. I think I’ll swap my 23″ Cinema Displays out for them (the Cinema Displays are starting to leave ghost images behind).
Thanks for the tip!
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[Dave LaRonde] “You should talk to a company where people build systems of this sort FOR A LIVING… especially if you intend to make YOUR living off this system. “
There are plenty of people here that do MAKE A LIVING of their systems and can offer valuable information. People who build the systems may lean towards brands that they carry instead of a product hat might be more affordable or better suited for your setup. I’d do both – get that advice, and check back here for some feedback.
One thing about working for the web is that different rules apply. You don’t have to worry about framerates or broadcast legal levels. You could shoot on Canon 5D, shooting at 30fps, convert the material and cut it and finally color correcting using only your computer monitor, because essentially that’s what your audience will see. Oversaturated images that wouldn’t really fly on TV can work well on the web as well as the contrast, which can be higher than on TV.
I hope this helps.
Regards,
Bjarki -
I just did a job shot on Canon 5D and 7D and converted all the material to LT. It was all cut on my MacBook Pro’s internal drive, more or less on location, and the material was played back on the same laptop at a gala dinner (attended by a wide range of socialites as well as the arguably poppular president of Iceland) being projected by 3 HD projectors.
The point is that I converted all the material to 25fps and comparing the 7D originals to the LT, they looked the same, and it was so light. Thanks for the great tip!
B.
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[Shane Betts] “I’d like to add my vote for 1920×1080 output so I can send the scopes around the house via HDSDI (via a Studio Videohub of course). “
Good call. Also since a lot of monitors are now running that resolution instead of 1920×1200. 16:9 all of a sudden became the standard for computer monitors.