Erik Lindahl
Forum Replies Created
-
Very good points!
-
Very interesting product.
How much does it push a modern MacBook Pro 2011? This would be a very flexible and cheap solution for adding scopes to our studio(s) as both our editors have a MacBook Pro 2011 as a “side machine”. We’d just have to add something like the Intensity Extreme, UltraStudio 3D or AJA Io XT for i/o. Would it be unrecomended going SDI > HDMI for monitoring purposes? The Intensity Extreme is such a cheap product and we already have SDI > HDM in the studio for monitoring tot he HD-screen for clients.
The only problem is if the app / solution really pushes the CPU / GPU of the MacBook Pro the fans go nuts and that would render the solution less optimal.
-
Native RED RAW support is just a wishful dream stil?
-
I saw the PVM and BVM (E and F) at a get-together two weeks back here in Sweden and the monitors are quite stunning. Not only do they hold extreme color fidelity and deep blacks, they are similar to CRTs in terms of refresh-rate (i.e minimal ghosting). To counter flicker the BVM-series shows each frame 3 times if doing 24 / 25p work hence you run at a more eye-friendly 72 / 75 Hz.
But, I’d love to hear other people’s thoughts about these babies.
-
Interesting.
This however would also be a feature apple should add to FCPX – timeline notifications for mixed frame rates – similar to say how FCP7 shows out-of-sync clips. Whatever magic you use, editing 29.97 fps in a 25p timeline will make the image suffer to some degree.
Cool it works though.
-
Very interesting! What 8-bit monitors would you recommend in Europe / Sweden primarily? Could be worth looking into.
-
Would be cool to hear your findings. MacOSX-support for Quadro 5000 and 6000 would potentially be interesting as well.
As you say though, I wouldn’t want to invest X-thousand $ finding the solution rendered useless by apple in a month or two. Also, it would be interesting to know how wide the support is in terms of OpenCL, OpenGL, Quartz and of course CUDA acceleration.
-
I actually haven’t though of the issue you bring up here. All our masters are 10-bit uncompressed or 10/12-bit ProRes footage and our reference monitor is 10-bit. For mastering purposes, it might be worth looking into making 8-bit files.
That said, most of our TV-deliveries are 8-bit 4:2:0 MPEG2 files. When viewed on an 8-bit TFT computer monitor we should see any banding artifacts clearly.
-
Very true! Sometimes 8-bit is enough hence my somewhat elemtary question. But working with fine gradients 16-bit (or higher) is a must and in general very much preferred.
As for monitoring in 8-bit that gave me a thinker… Would one get an accurate 8-bit “monitoring” on a 10-bit monitor using an 8-bit file or will the monitor always give a “better than you can expect” view of things?
-
This is very very interesting!
Is this officially supported now is did they just happen to make it work?