[Franco Bogino]

Hi Shane

You’ve given me some advice in another thread about monitoring for grading. Just wanted to know more about the HP Dreamcolor HP, I’ve seen one second hand for a good price. Would this be an adequate solution for grading on Color? Part of the appeal is that it can be used both via DVI and thorough Composite/ HDMI, so I can start out with DVI and move to other options when I can upgrade my video card or get something like a MOX2. What do you think? Would it still be pretty useless to use a monitor like this, but through DVI?
Cheers

Franco

London based Avid/ FCP offline editor.
FCP Online.

[Franco Bogino]

Hi Shane

Thanks for the reply. I see the benefit of going through a box like the MOX2, but what I don’t understand is the choice of monitor. A Dell is quite a bit more expensive that a lot of the Flat Panet TVs of similar size, so wouldn’t this indicate a better image quality?
I’m iterested to know if there is something intrinsic in the colour space and blacks that is different, or if it is a quality issue.

Also, in terms of calibration, computer monitors can be calibrated using special measuring devices, so the MOX2 isn’t necessarily an advantage on this front, or is it? I’m just going by the equipment that a photo retoucher would use, which would be a high end computer monitor connected via DVI. I have a friend whose company use Eizo monitors, but they are out of my price range (about £3000). Again, I dont’s know if this is because of some fundamental difference between video images and stills…I’ve always looked at video as a series of stills when it comes to grading (though I’d like to know if this is fundamentally flawed).

One problem is that if I go the componet option on a client monitor, color might require me to have a third monitor as it’s interface requires 2 computer monitors. This is more a space issue than a price issue as there a are plenty of cheap computer monitors out there.

Thanks

Franco

London based Avid/ FCP offline editor.
FCP Online.

[Franco Bogino]

Hi Guys

Interesting thread. I’ve been looking into setting up a decent monitoring solution for grading at home.

Unfortunately I don’t have much money to fork out, but I AM looking for a solution that will allow me to output some commercial work.
I want to produce music videos. Because I am aiming at the low budget market I need to be able to do most of the work myself & at home in order to make any money out of it.
The trouble is that until I get the ball rolling and build up a decent enough showreel to get reel in bigger budgets I can’t afford to invest in the high end pro equipment.

I am on a mac using FCP and Color. I was interested to know how passable the Dell 2408 really is, and what kind of difference it would make even to this kind of monitor if I used component inputs instead of the DVI. I realise this is probably the cheapest solution. I do have more money available than this but I only want to fork it out if the difference is notable. What I don’t have is the money for a Panasonis Production monitor (though this is probably the kind of thing I’d go for once the ball is rolling).
I’m prepared to spend around 1000 UK pounds at this stage, so it’s really about getting the best monitoring solution for this money. I currently only have DVI out from my Mac, so if it really makes a difference this money will have to cover a new graphics card or a decent adapter/ converter so I can use component.

I am a freelancer, so if a job warrants it I can probably get into a facility and tweak my grade on a decent system, as long as I’ve done the leg work at home.

Bob, don’t be annoyed – we all have to start somewhere. You all seem to know your stuff, so your imput would be well received.

London based Avid/ FCP offline editor.
FCP Online.

[Franco Bogino]

..oh, and also I am not applying any speed effects. I have tried exports of clean shots with all effects stripped off except for the field filter. still have the same comb effect on all shots.

London based Avid/ FCP offline editor.
FCP Online.

[Franco Bogino]

Hi Michael

My original footage is PAL Mini DV, with field dominance correctly appearing as lower (even). I have put my clips onto a 10bit uncompressed timeline, each with the field filter applied and set to -1. When I export these as a quicktime reference and view the resulting clips in quicktime player they all display the comb effect.

I am using FCP 6.0.2 and Quicktime 7.5.5

London based Avid/ FCP offline editor.
FCP Online.

[Franco Bogino]

Hi
the 10bit conversion is indeed for the purpose of grading and other effect I am applying.

The comb effect has only appeared since converting to 10bit uncompressed. The original DV quicktimes did not display this. At the moment I am only monitoring on a computer monitor, with a view check on a CRT when I have access.
The final output does have to look good on the quicktime for two reasons:

1 there will be a final version distributed as quicktime and DVD.
2 I need to be able to send to Color for grade, so the files must be SD uncompressed with correct field order, and no artefacts.

I was considering recapturing trough SDI, but I do not have easy access to a system capable at the moment, so I was looking at alternative solutions for now.
I’m all ears for any acceptable software workarounds. I am using Studio 2 with FCP 6.0.2

Many thanks.

Franco

London based Avid/ FCP offline editor.
FCP Online.

[Franco Bogino]

Hi

I am looking to find out about the quality and cost of upresind DV material to full HiDef, and/ or the best way to integrate DV naterial into a 24p HiDef project.

This is for a feature length documentary destined for theatrical release. The material is being shot at 24p 1080×1920, but there will be some stuff shot on Mini DV and HDV in some situations where the pro cameras cannot go.

I would like to hear any feedback on the best way to integrate such material into the project should we need to.

I am interested in any suggestions about the best editing system to use, and any ideas on potential costs if the naterial has to be upresed/ transferred to a HiDef format. Can this transfer be done at the online stage, or will it have to be right from the offline stage?

Any info would be greatly appreciated.

Franco

London based Avid/ FCP offline editor.
FCP Online.

[Franco Bogino]

I have set the multibridge to analogue imput. As I said, I am getting sound into FCP, but only through the Capture tool, not through the voiceover tool.

Franco

[Franco Bogino]

Hi Jerry

I’ve just tried to digitise a tape with this function turned off but it hasn’t worked. The tape rushes have been subclipped as usual.
Has this option been successful for you? How should I have my user preferences set up (bearing in mind that I would l;ike the integrity of the timecode to be preserved).

Nany thanks

Franco

[Franco Bogino]

Thanks for all your input, it’s been very helpful.

Cheers

Franco