Bram Desmet
Forum Replies Created
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Sounds like the SR machine is expecting YCbCr and you are feeding it RGB. Also, if the project is 4:4:4 RGB that might explain why you can’t go to 4:2:2 output, because that would be YCbCr.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
see here: https://www.flandersscientific.com/index/pg90504/da1944:2036 for a complete explanation of the bit depth of the 2460 and 2470W. Color Depth is not the significant difference between the LM-2460W and LM-2470W, put a shallow ramp on both and they will look practically identical. The real significant difference is that the 2470W has a wider native color gamut, which gives it one additional achievable color space: DCI P3. If you don’t need that, for example you normally work in Rec 709 color space, then the 2460W is certainly the better value for your money.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
If your monitor was purchased after June of 2009 (or you have updated to any firmware version 9.06 or later if purchased before June of 09) You can also press down on the volume knob to instantly mute or un-mute the audio.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
Hi Peter, if you do go with FSI and it is going into an edit suite save the $200 and get the LM-1760W. The LM-1770W has some big advantages for field use (weight, power consumption, 12VDC instead of 24VDC, smaller chassis), but for an edit suite most people have a hard time distinguishing any real picture quality differences between the two units.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
In the interest of maybe providing useful information to others that may come across problems with displays that don’t work in 1080 with the Canon 5D Mark II, here is the issue:
-Has nothing to do with HDCP compliance, not required, so that is good.
-If you have a display that does not work at 1080 in the live view mode with the Canon 5D Mark II it is probably attributable to one of two things: Native preferred timing not set to 1920x1080i in monitor’s EDID or that the display type is listed as RGB color and default color space is listed as sRGB in the monitor’s EDID.The 1080 HDMI output from the Mark II is YCbCr so if your display’s EDID indicates that the color space/display type are RGB the camera will default down to 480p RGB output. Modifying the displays EDID accordingly solves the compatibility issue.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
Some more info: all of the units without HDCP have DVI inputs, we use HDMI to DVI cables for this purpose. The two with HDCP have HDMI inputs. This could be the reason for the incompatibility as well, but that too would be surprising. Anyone using the Mark II, and getting 1080 output (not while recording of course), with a DVI equipped monitor?
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
Hi Dave,
The Panasonic does NOT have a 10 bit lcd panel. It simply uses 10 bit processing, same as our LM-2450W. We do have both 8 bit (2450W) and 10 bit (2470W) lcd panel units and both use 10 bit video processing. If you have additional questions feel free to contact us directly.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
Yep, absolutely correct. Add to that the fact that BluRay 1080p format support is limited to 24p on most (if not all-I believe a limit of the BluRay encoding spec, might have been updated at some point, not really sure) players so this isn’t really the realm you’d find native 1080p60 content in. As a production/cinematography standard 24 frames is of course the prevailing standard so you probably should not concern yourself to much with the in/outs of 1080p60. However, on the broadcast level you do see a good deal of acquisition and archiving, especially of sports, starting to be very focused on 1080p60…but that isn’t what you’re doing.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
“I don’t think I’ve ever seen anyone (editing) with 720 at 60 frames per second.”
That really surprises me. 1280x720p60 is very common. It is the broadcast standard adopted by many of the largest networks and a lot of material is edited/delivered, etc. as such…1080p60 doesn’t ‘kill’ 720p60 because the storage/bandwidth needs increase substantially so there is the very real issue of cost to deal with…also, keep in mind that most transmission systems don’t currently support 1080p60 so adoption of this format at all levels is seriously hampered. In terms of performance though 1080p60 is the best of all worlds b/c you have both the high resolution and the high progressive frame rate.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com -
Yes, 720 does come in other flavors. 720p24/25/30/50/60. If we were talking about broadcast this would actually be simpler as the number of transmission formats are generally much more limited, but when we start talking about playback from DVD, BluRay, digital media players, etc. these other formats may be more prevalent. Also, you are much more likely to run into 1080p60 with the type of equipment you describe, which again reinforces the idea that it is quite important to list the native resolution along with the frame rate to avoid confusion.
Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com