don't know specifically about Avid, but the whole point behind
EqualEyes is that it works holistically on the entire computer, not
inside of a program, so it should, in theory, work for Avid.
Cinespace doesn't care which probe you use, so you can definitely use
the Spyder. But the LUT and profile is only as good as the probe. I
have an iOne and a Spyder. I haven't seen any difference between them,
but with the higher level probes, like the iOne Design, you get what
you pay for. One probe is $200 and the other is $3000 or something
like that. THere's obviously a reason for the price difference.
On Feb 3, 2010, at 2:30 PM, Nathaniel Jencks wrote:
> Thanks Steve!
>
> I've actually had the chance to test out the CineSpace suite a few
> times in
> the past (but only on PC) and it seemed great.
>
> I was hoping that for this particular issue that either the X-rite or
> Datacolor software would be adequate without stepping into the bigger
> leagues and getting into Cinespace etc. Perhaps a higher end
> solution like
> EqualEyes would be the only way to get close with the laptop screen.
>
> Do you know if EqualEyes works correctly with OS 10.6 and Media
> Composer
> 4.0?
>
> E.G. will profiling to rec709 using the RSR rec709 profile result in
> an
> image that matches the SDI signal going to a rec709 monitor? I'm
> worried
> that gamma shift/ media composer funkiness/ OS 10.6 ColorSync
> funkiness
> might botch things up.
>
> Thanks again!
> best-
> -Nat
>
> On Wed, Feb 3, 2010 at 2:19 PM, Steve Hullfish <steve4lists@veralith.com
> >wrote:
>
> > So,
> >
> > Getting REC 709 to a Mac laptop - or anything else for that matter -
> > requires TWO things.
> > A monitor profile - which can be created with an iOne or Spyder and
> > some software PLUS
> > A LUT that takes that profile and says "Now that I have your monitor
> > displaying the proper colors, we need to show you what the colors
> will
> > look like for an actual OUTPUT device." (Device being Rec 709,
> > CCIR-601, or another monitor or film stock).
> >
> > I just did a very, very in-depth color correction training DVD for
> > Apple Color (4.5 hours of basic + 4.5 hours of advanced training)
> and
> > it includes a tutorial on how to do exactly what you're talking
> about.
> > However, if you are serious about it, it's going to cost you some
> cash.
> >
> > The run of the mill calibrators like the iOnes and Spyders are
> decent
> > and my monitor looks MUCH better after JUST the calibration with the
> > Spyder, but it will take something of a slightly higher level, like
> > one of the higher end X-Rite probes at about $5,000 to get really
> > dependable results.
> >
> > THEN you have to add some software, like the Cinecube Visual 3D LUT
> > creator from Cinetal (yes, the monitor people), to create the LUT
> that
> > turns your monitor into "Rec 709." Using the same piece of software,
> > you can actually have a computer monitor get pretty close to a
> > specific video monitor. You can also - through Cinetal's Davio
> product
> > - have an "off the shelf" plasma from Best Buy get VERY close to
> > matching your highend reference monitor. This has great benefits if
> > you are sending stuff off to a client and you want to ensure that
> they
> > are seeing the same thing you are. You can run a DAVIO at both
> > locations and create a LUT that matches the two monitors in remote
> > locations. Very cool.
> >
> > Cinetal also has a program called EqualEyes that takes the monitor
> > profile and the LUT and applies it to your computer, so that if you
> > aren't driving the LUT in the video monitor or through a Davio or
> > through the LUT plug-ins that some programs have, you can still get
> > proper colors. So you'd need all three things: monitor probe, LUT
> > creator (Cinecube Visual), and EqualEyes. Though the monitor probe
> > itself would be a good start.
> >
> > CineCube Visual has several pre-programmed outputs, like REC 709 or
> > general film stocks that you can just plug in, or you can probe
> > another monitor to come up with a LUT OR Cinetal will actually run a
> > piece of specific film stock through the entire post-production
> > process with your lab/DI house and create a LUT so that your monitor
> > looks like the film stock that has actually been run through the
> > entire exact same development, scanning, output process. So WYSIWYG.
> >
> > By the way, the DVD training will be out in about six weeks from
> Class
> > on Demand. I did it with Bob Sliga, who worked on the Apple Color
> team
> > from before they were at Apple (Silicon Color, FinalTouch days),
> so it
> > is definitely the most complete and definitive Color training on the
> > market. I'm really proud of it. It teaches color correction AND the
> > Apple Color interface.
> > Plus there's all this additional material including tutorials on
> > setting up and using a Tangent WAVE panel, special tips on
> monitoring
> > waveform and vectorscopes (both internal and Tektronix), calibration
> > of monitors and creation of 3D LUTS. It cover everything, starting
> at
> > that simple moment of "Wow. I opened up this program and it sure
> looks
> > way too complicated to me." all the way through advanced tips that
> > most experienced Color colorists probably don't know...yet.
> >
> > We even did a cool tutorial on white balancing video and matching
> > scenes using a little device called a Spyder Cube, which is like a
> > camera chart on a keychain. You've got to see it to believe it.
> >
> > Steve "still pimping my sh%t" Hullfish
> >
> > On Feb 3, 2010, at 12:39 PM, Nathaniel Jencks wrote:
> >
> > > Ok, I realize that even the subject line of this post will send
> > > shivers up
> > > the spine of many on this list... and rightly so.
> > >
> > > Understood that the only good way to get a decent rec709 image out
> > > of media
> > > composer is to send to an external video monitor via avid
> hardware,
> > > Matrox,
> > > etc.
> > >
> > > BUT... we have a mobile system that for mobility purposes cannot
> be
> > > attached
> > > to an external monitor, and we would like to get this "as close as
> > > possible"
> > > to what we will see coming out via SDI via avid hardware to a
> rec709
> > > display.
> > >
> > > So my question for the list is... Is it advisable to use an i1 or
> > > spyder III
> > > probe to create an icc profile which makes the LCD to emulate
> > > (vaguely) a
> > > rec709 display, or is Media Composer actually assuming that the
> > > display will
> > > be a typical sRGB display, and adjusting gamma of the image
> > > accordingly.
> > >
> > > Also, is there a difference in the way MC displays the image via
> > > Full Screen
> > > Playback, and when it is simply playingin the record monitor?
> > >
> > > I am also (perhaps too optimistically) hoping that since OS 10.6
> is
> > > using a
> > > native gamma of 2.2 for the OS, that all the 1.8 vs. 2.2 gamma
> non-
> > > sense is
> > > no longer an issue for media composer on snow leopard?
> > >
> > > Thanks all!
> > >
> > > Best-
> > >
> > > -Nat
> > >
> > > [Non-text portions of this message have been removed]
> > >
> > >
> > >
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
> > ------------------------------------
> >
> > Please donate to the Red Cross to help those in earthquake ravaged
> Haiti:
> > http://www.redcross.org/en/donatemoney
> >
> > Search the offical complete Avid-L archives at:
> > http://archives.bengrosser.com/avid/
> >
> > Yahoo! Groups Links
> >
> >
> >
> >
>
> [Non-text portions of this message have been removed]
>
>
>
[Non-text portions of this message have been removed]
------------------------------------
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