Robert Ruffo
Forum Replies Created
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DOesn’t monoprice sell a DVI switch? I think I will get one…
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Few if any master in 4K. You will be mastering in 2K or 1080p – requirements are far less than generally stated above to see Red RAW footage in a useable manner and grade it.
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Intensity pro works perfectly via HDMI, but no sound at all. Not sure about sound on any model other than that recommended by Black Magic (and major useless overkill for us too).
That is a great question though – would love to know if breakout cables can give sound via Studio model
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No, you bring in the LUT within Davinci. Just look up “display lut” in the manual, which has a whole section on LUTs. Display Luts affect only display, not the grade itself. Other lut applications do affect the grade, but not Display. The same 3D LUT file format can have many uses, and display calibration is only one of them.
In essence, you are using a display LUT to grade-away incorrect biases within your particular monitor.
Many other software do not have the ability to load display luts. In this way a box like HD link would be preferable, as it could be in the chain of any output type to your monitor, even blu-ray players.
Most outputs are fully compliant in the digital world, so accounting for differences on the output side is not really necessary, it is the displays that tend to be heavily inaccurate and in dire need of correction.
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You can do thsi easily by copying and pasting settings in Redcine X, and then saving the RMD sidecar (you can set Redcien X to “auto-save”. Then create a NEW project (otherwise Davinci will use old settings from first time you loaded clips in media pool – I wish there was a “refresh RMDs button)) in Resolve, and reload clips they should all be fixed as they were in Redcine X.
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I found the best classes, and most complete, are Tao Of Color. A bit slow-moving for someone who has been in post a long time, but ideal for a beginner. I learned quite a few things, which made my patience with the beginner stuff worth it.
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If you see a difference between 8 bit and 10 bit, then there are several possibilities:
1 – You are using a LUT box. A LUT box “grades” a video stream with a correction. Much like any kind of grading, when below 12, or even 16 bit, you will see a quality difference in the output. 8 bit only looks the same if the signal is untouched. 8 bit is a more than adequate **final** delivery format, not a working format in any way.
2 – There is indeed a visible difference between 8 bit and 10 bit display colorspace. This is debatable. Experts say no. Either way, if you are delivering to 8 bit you should look at that while working. What next? Grading in P3 space for Rec 709 delivery? I mean, p3 is better, and a gentleman above said that he wants the monitor to be “as good as it can”. I say, why look at what your audience will not see.
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The current i1 Display Pro actually beats the old EyeOnePro in accuracy (you can look it up). These things are progressing. It stands to reason – a $3000 dollar 2011 DSLR beats an $8000 DSLR from 6 years ago.
I am extremely sensitive to color shift and I can actually see an E Delta of more than 1.5 or so on a grayscale screen. I can’t see any problems after calibration with our i1 Display.
Again, Banding does not come from a good 8 bit monitor. 8 bit does not generate banding – 8 bit is enough color to show any image ever recorded on this planet without banding – it’s that many monitors are crap regardless of whatever bit-rate they claim to be (most TFT panels are only 6 bit – did you know that?) , and that many monitors are not properly calibrated, or are simply impossible to calibrate without a LUT system like from Lightspace.
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SO we have two possibilities;
A) We cannot tell the difference, so why bother with 10 bit monitoring expense
B) We can tell the difference, so 10 bit is dangerous if 8 bit is our deliverable,
Either way, one could conclude that 8 bit monitoring is a great choice.
My feeling is, people think 8 bit is not good enough for monitoring because they have been exposed to crappy 8 bit monitors that in fact do not display the full 0-255 RGB 8 bit range. A great 8 bit monitor truly capable of full Rec 709 and well calibrated will show no banding or other deficiencies – it will simply be a great monitor. (In other words I in fact agree with the above poster but if there ever WERE some difference, then “B” applies and 8 bit is still a better choice.)
Please lets’ be clear here though – colorspace should be as high as possible until output to monitor, and if using a lut box, then you must use at least a 10 bit signal (more would be better) until that box otherwise your LUT box is “grading” low colorspace material, which can result in banding or other issues.
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Clients take what you grade home and show it on other screens.
Our facility is based on the “full guarantee/no surprises” philosophy.
Besides, grading in 10 bit for a 8 bitspace target delivery is like grading in 3D for a 2D delivery – OK not as bad but in that direction.
You can run into real problems, like maybe the center of attention is less obvious in 8 bit, because its colour and the backgrounds render as too similar when down-converted. (Unlikely, but not impossible, and certainly possible at a subtle level.).
Besides, “bedazzling” clients in this somewhat deceptive manner I find potentially disrespectful of their intelligence. We have great clients, we very much respect them.