I think I can safely say... WoW!! That is well out the ball park. I need the broke mans version.
There has to be something that is an alternative. Right now i know what i am seeing is wrong. I guess i am looking for " Righter " rather than "Rightest".
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I have also heard good things about the HP Dreamcolor , but is not in the same category as the Flanders which is a true engineering monitor. I come from a background of 30 years as an editor in professional facilites so maybe I was the wrong one to respond
Have you done any calibration of the monitor you have?
I assume you are on a Mac..so cant advise exactly how you do that but I am sure there is some Screen Calibration apps in the Mac OS.
Also. learn to trust the scopes in Premiere adn FCP
There is no wrong respondant . Its good to know the specs on the big boy stuff. I would totally get it if i had the money.
I have heard that also and on another forum i noticed some one said apple cinema displys but i take that with a grain of salt. The screens i have now are very close to the apple cinema displays.
I'll take a look at dreamcolor.
Oh, I have clibrated the screen using the internal apple software. It still doesn't translate well to broadcast. Always darker or muddier or not the amount of blur or grain that i intended in the grade.
Out put a test file that include Color Bars created from your NLE.
Then have your Broadcast facility tell you what the issue is.
BTW Do you know how to calibrate your monitors using color bars and do you know how to "legalise" video for broadcast?
It still doesn't translate well to broadcast.
That's one reason why it really makes sense to invest in a broadcast quality monitor, and not try and make do with something on the cheap.
I use to know how to legalise i thinnk. When i was doing sd work i never had a problem from my $695. jvc. I replaced that with a 720p hdtv but it has never been quite right. There is no blue gun on it and it has some sweeteners that i have never been able to adjust to. I think this is because of shifts that take place over time or even each time i turn it off and on.
We are constantly getting new projects. My budget is based on having to get the MXO2 LE also, which is better than the BM Intensity i have. Someone metioned Dell UltraSharp Series and then i saw this
The plasma is in the range I wanted to be however 2 more contracts in a month and i could get the NEC. They say that the plasma is the most used and most popular. I would need a Syder3 also since the calibration tool i use now is not that great.
I would use a 1920 x 1080 monitor instead of those.
(You then dont ever have wonder about the scaling because its 1 to 1).
Actual I do use 1920 x 1080 monitors FWIW
Can you post a frame grab or two from one of your master broadcast clips. Curious to see how your issue looks.
The mostly red shot with the red building in the BG is a shot that i tried to create a supper warm shot with some red & yellow spillage. Notice the left side of the building. There is a matte there to bring up the detail. On my monitor its there but it became too dark in broadcast. The brown jacket which is also matted at 40% opacity get a bit muddier than i expected.
The shot with the guitar player has a yellow vignette on it. It looked more yellowish on my screen but did not translate. The overall look of this frame took away from the sunny day we had. Its darker.
Trolley scene with the 2 girls - shirts, faces and windows. Windows are mostly blown due to cam operator and the fact that i used an levels s-curve to crush blacks and blow whites. Maybe should have matted. The shirts were electric pink and felt that they lost a little vibrancy and became muddier than it should be. Unlike the yellow tank top he has on. Compare this to the overall brightness of the 1st screen shot.
The crane shots problem is the grass. Needed a brighter green... thought i had it but not.
If i could just get somethin g 25% better it would help.
yellow shirt older guy was graded in AE via Premier CS5.
Younger black guy was graded in apple color via FCP.
Let me know your thoughts.
BTW. These were shot on a HMC150 @1080p24. Settings were default w/ +3 chroma / vivid / cine-like D
I can easily imagine how that footage and that grade might go "Broadcast illegal".
ie too much chroma and luma.
If you look at the clips in the timeline on the scopes WFM, Vectorscope and RGB Parade ...I would bet that the luma and the Chroma is all clipped
Maybe some one is clamping the footage to make it legal.
On the issue of monitors - if you can't afford a professional one for video (i.e., an expensive one) consider a monitor with an IPS panel (gives best colour). For information about LCD, etc. monitors, see, for example, http://www.tftcentral.co.uk/articles/icc_profiles.htm . The site, although dated, contains some very good information about calibration, quality, testing, etc.
the older guy i did blow out and then cut what was +100. The burn in the windows are manufactured. there was some detail there but there were things that i though to be distracting for the feel. I did keep rgb levels within 10bit yuv. and yep i sis clamp that for good measure but it wasn't much, barely a trace over +2 max.
The thing is i have adjusted to some of the nuances of the screen i have but it is still a long way from true monitoring. My close friend has a eizo something he paid 4k for. He has much more cash than the average trust fund baby but i did a look on one of his horror scenes and he went bonkers. It a very hot look. But thats because i was able to see everything.
I just need "righter" and that would improve my looks and translation. It may not be perfect its not uber horrible now. I get in broadcast levels but the look and expected color character is never as i see it in the bay.
I will check out that forum.
I did keep rgb levels within 10bit yuv. and yep i sis clamp that for good measure but it wasn't much, barely a trace over +2 max.
64-940 is a common bc legal level within 0-1023 values of 10-bit video.