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@pacbell.net> 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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