Tony
Forum Replies Created
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Walter and Boris,
Great to hear you like what you are getting but please be aware without an accurate method to align the monitor from the get go it very difficult to even know if your color temp and contrast settings are even right. FYI I use my probe in the field for shoots as well as in post for accurate, repeatable results.
Blue check has nothing to do with calibrating a monitor’s gain and bias controls.
Once you have tried out a monitor probe and understand what it has to offer the experience will open up a greater understanding of the value it has to offer.
In the end a monitor probe is yet another tool which allows repeatable results which can be tracked over time.
FYI major telecine and color correction suites rely on the use of a monitor probe for their monitor alignments.
I have found most of the Sony monitor I tested right out of the box are too blue and color temp is 7700K or higher.
Tony Salgado
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Boris,
For color correction accuracy you will need to use a monitor probe to calibrate the monitor’s gain and bias controls.
I use one for both my 14L5/1 and 20L5/1 with great results.
Tony Salgado
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Boris,
The 14L5/1 “1” indicates it can do multiformat such as 48hz for 24psf as well as,50i, 60i and 720P.
The older series without the “1” cannot do 48hz and I would not recommend buying them if you intend to use the monitor long term and there is the chance you will deal in the future with 24P material.
For a post production suite using the component analog inputs is fine but in the field all the high end HD cameras use HD-SDI (ie F900, Varicam etc) and it is much easier to deal with a single cable instead of three from a streamlined workflow perspective.
If however you are using the hdx-200 camera and do not have HD-SDI outputs then using the component inputs will do.
The best monitor for the value if you can find it is the 20L5/1.
Tony Salgado
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If you desire the actual slo-mo effect then you must use the FRC (which is either the Panasonic hardware device or you can use the plug in for FCP or Avid).
In anycase the dub house is correct.
Obtaining slo mo from Varicam is always a multistep process which must start with the FRC first.
Good luck,
Tony Salgado
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If you believe you will lose the client regardless then why underwrite their mistakes at your expenses?
Put your foot down and demand your due compensation.
Tony Salgado
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You really should hire a qualified video engineer or experienced DIT who really knows the Varicam.
A one day course is no excuse for years of “real world” experience.
Tony Salgado
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480P was once called Advanced Television.
I demo’ed several times 480P footage I shot and many viewers mistook it for 1080 HD.
I nicknamed 480P “poor man’s High Def”
Damn best looking Standard def by far.
Too bad it never caught on but that’s another story.
Tony Salgado
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Can you get a release for any other crime such as murder, robbery or other?
So why would you think a release for a federal copyright infringement would be any different?
The fact is clear the client is asking you to become a party to a crime and you want no part in it.
Plain and simple “do not pass go”.
Tell them you can do all the other work which is legal but any violations of established federal or state laws you will be forced to comply with.
Tony Salgado
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Consider hiring Larry Jordan one of the premier FCP instructors/ consultants
He has ongoing seminars and classes in various cities in the US.
Tony Salgado
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Mike,
Your F350 is causing the problem.
It is a noisy camera as I have tested it out in a similar lighting scene as you describe.In addition the IT CCD sensor streaks vertically when a light is aimed directly into the lens.
The vertically streaking is by far the worst I have ever seen in any IT chip camera as it breaks up into into smaller segments instead of a straight vertical single line.
Overall I was quite disappointed with the image quality of the F350 when compared to other camera at the same or close selling price point.
Tony Salgado