Another issue for us is that we still do some SD work. Both NTSC and PAL. I didn't even look at this during our OLED tests. Anyone??
--- In Avid-L2@yahoogroups.com, Patrick Inhofer <elists@...> wrote:
>
> John,
>
> Thanks for that great explanation of your workflow. Over on the Tao I have
> members continually flummoxed on this issue of displays and display
> technology. I'm very well familiar with your frustrations. My comments are
> below.
>
> On Tue, May 15, 2012 at 1:45 AM, johnrobmoore <bigfish@...> wrote:
>
> > I can get used to any monitor over time but having spent the last 3
> > years with the JVC DT 24 variety I have had to rely heavily on the scopes.
> > I have to be mindful of being square in front of the monitor etc...
> >
> My experience with the FSI is completely different (which was my first LCD
> experience).
>
> In fact - over the past year I'm finding myself using the scopes less and
> less (except the past few weeks when I've been grading using histograms -
> to see what the Baselight guys like so much about it) and letting my eyes
> tell me what to do. I still do the initial primary corrections using scopes
> - but then I switch to my eyes. Then, as I finish up the grade, I'll take a
> look at the scopes to be sure they agree with my eyes and to see what kind
> of clipping I need to look for.
>
> > Also on a series I just finished where I got the Sony monitor after the
> > first few episodes upon comparison I can see a difference in the way I
> > color corrected. This was mostly due to the Plasma we had been using didn't
> > handle highlights well so I would pull down the gain more to make up for
> > the monitors blooming like quality.
> >
> If I read you correctly - you were grading off two monitors. I really
> believe that's a recipe for disaster. I don't run with a second monitor in
> the room. If I did, it would be a Plasma. But it HAS to match the LCD. I
> know a few guys running this kind of setup and they rarely get clients
> pointing to the plasma saying, "I like that one better."
>
> If another monitor in the room is forcing you to change the way you grade
> to your hero monitor - there's a big problem.
>
> LCD or not - it just shouldn't be that way.
>
> I can tell you, I did relax considerably when I removed my CRT from the
> room and ran the FSI LCD exclusively. I learned to trust the LCD. And once
> my eyes adjusted to the lack of pop (a problem for LCDs) I graded just fine
> with it. I did set the gamma to 2.35 for a long time, which helped it look
> a bit more CRT-like. But I've taken to dropping it to 2.2 since so much of
> my work needs to work for computer displays as well as broadcast.
>
> I thought I'd hate grading at 2.2. But it's proven to less of an issue than
> I thought.
>
> > I look forward to seeing the Flanders monitor to see how it compares
> >
> Certainly I look forward to hearing how it compares to the LCD you've been
> using. But it'll be a tough comparison now that you've moved to the OLED.
>
> > I had the opportunity to work my first Sony monitor project on a
> > documentary that was originally color corrected 4:4:4 and the image was
> > stunning. I've only had my Sony a few months so I don't know how much the
> > drift issue will be in the long haul but I think my next wishlist item will
> > be a probe for that.
> >
> The drift I was seeing occurred across 4 days. This was a PVM OLED - one of
> the first off the line (or so I am told).
>
> I scanned through this and the original thread but didn't see if you
> mentioned if you're using the PVM or BVM?
>
>
> - -
> Patrick inhofer
> Colorist / Finisher / Owner, Fini.tv
> Trainer, Tao Of Color.com
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