Günstiger Color Grading Monitor

Hallo,
ich habe die Production Premium und momentan einen relativ großen, aber schlechten und einen kleineren uralten Analog-Monitor an meinem PC angeschlossen.
Der soll jetzt durch einen neuen ersetzt werden, auf dem in Premiere das Bild angezeigt und mit Finesse gegradet werden soll.
Meine Preislage wäre so 200-250€. Ich weiß, dafür werde ich nichts professionelles bekommen, aber er könnte ruhig relativ klein sein, womit ich ja doch einen mit einer ganz guten Farbe kriegen könnte.
Vorschläge am besten gleich mit Link
Schon mal Danke!
Jan-Luca

Jonathon,
Did you not read my very post to your question? I answered this question for you. Look above, you'll see I tell you that the Kona LHe downconverts hd on the fly and I view it through component analong in my Sony PVM. I don't mind helping but you've asked this question 3 times now.
Worst case scenario (I guess) would be to down convert the HD footage to SD and color-correct in FCP via a Firewire and a SD CRT monitor. Correct? And if that's the case how would you do the the down conversion before the color-correction?
Yes, that is a very worst case scenario and one you should avoid. Personally, shooting hd to deliver in sd makes no sense to me at all. Darn near every show I've worked on this year is acquired in hd and then broadcast in sd and we use hardware downconverters that are horrendously expensive and yet the product is marginal.
If this is the workflow you're going to use, you'll want to use Compressor to change formats but geez, why on earth would you do this when a Kona LHe will do everything you want it to, right out of the box.

Similar Messages

Need To Purchase Color Grading Monitor Today. Please Help

I've been color-correcting via the 3-Way plugin in FCP for years. At SD, normally DV, resolution via Firewire out to a color, CRT broadcast monitor. So now I'm color grading with Apple Color. Love it. But, I need a new output device and monitor. I say I need a new monitor b/c I now work (sometimes) at HD resolution. It's not often but I do. So my question are:
• Overall which card and monitor combo should I get?
• Should I stick with a SD CRT since most of my work is SD?
• And, if I do, can I still color-correct HD projects with it when the time comes?
• Should I do some type of HD monitor set-up?
Right now I'm working with the following:
• Dual 3Ghz Quad-Core Intel Xeon G5 Tower
• 8GB RAM
• NVIDIA GeForce 7300GT
• 1 Apple Cinema Display and 1 Wacom Cintiq display

Jonathon,
Did you not read my very post to your question? I answered this question for you. Look above, you'll see I tell you that the Kona LHe downconverts hd on the fly and I view it through component analong in my Sony PVM. I don't mind helping but you've asked this question 3 times now.
Worst case scenario (I guess) would be to down convert the HD footage to SD and color-correct in FCP via a Firewire and a SD CRT monitor. Correct? And if that's the case how would you do the the down conversion before the color-correction?
Yes, that is a very worst case scenario and one you should avoid. Personally, shooting hd to deliver in sd makes no sense to me at all. Darn near every show I've worked on this year is acquired in hd and then broadcast in sd and we use hardware downconverters that are horrendously expensive and yet the product is marginal.
If this is the workflow you're going to use, you'll want to use Compressor to change formats but geez, why on earth would you do this when a Kona LHe will do everything you want it to, right out of the box.

HP DreamColor Monitor for FCP Color grading

Hello, apologies that I posted this question also on the beginners video forum.
I am about to get a new Mac Pro set up specifically for color grading as I am a cinematographer and need more control over small projects where there is no budget for color grading of images at professional post houses. My vendor suggests using the 24" HP DreamColor LP 2480zx monitor driven from a Black Magic Intensity Pro card using the HDMI output. I have read conflicting reports and read a huge amount on forums such as Creative Cow about this but still not convinced I can get full 30bit grading from a Mac OS X using this monitor. I am in Australia and most projects here are in PAL format in HD at 1080p25 or 50i. I use FCP 7.
Any advice please?

are you saying I should look at Da Vinci Resolve to grade? Why?
It depends on whether you're a day-in and day-out business, and your preferred workflow. There are advantages and disadvantages to both. The Balckmagic-branded daVinci has a number of internal core processing advantages, a tracker that works, far superior color science, especially in secondary processing, but suffers from an old, "tape-to-tape" single-layer capability. However, it is truly "real-time", but that isn't as important to some.
The latest version of Resolve supports multiple-GPU processing on Mac, so the difference between the OSX offering and the much more expensive LInux may not be that great in actual performance. You can build a faster machine with more hardware.
The question... is it the software or controller that makes is (sic) so good? misses the point. Its a synergy of elements, just like good grading itself.
jPo

Desktop Monitor for Web Color Grading

First question is simple: I'm in need of new desktop monitors. Looking towards the Dell Ultrasharps, which have been a favorite in the past, specifically the U2412M. Any other suggestions?
Second question, more difficult: I do a fair amount of color work with DaVinci Resolve. None of it for broadcast. By this logic, I feel like I can get away with a solid desktop monitor rather than a Dreamcolor, FSI or something pricier. If this is the case, any input on whether the Ultrasharps are a better or worse choice than anything else?
And third question: Resolve doesn't output to a second monitor without a Decklink. I guess this means I would need the Decklink Studio, or buy an SDI/HDMI converter to get to the desktop monitor? Seems like overkill, but the only option?
Thanks much!

Thanks, Shane.
2 - A computer monitor is never good for color grading. Different colorspace than TVs or broadcast monitors.
That's sort of the idea-- almost all my work is for the web, and therefore I feel like a good computer monitor is actually (albeit counter-intuitively) a good fit.
Besides that, I'd love to kill two birds with one stone and have an extended desktop when I'm not grading.
Faulty logic?

Which monitor is best for color grading?

I am new to Editing & color grading,i am working for films,using Adobe CS6 & davinci resolve now i am looking for 2nd monitor(reference or preview purpose) which one is best to choose in budget.
my monitor is dell 27 inch ips monitor,and what to choose second one ,is it a broadcast monitor or one more ips monitor is enough? broadcast monitor is expensive then which is best budget monitor to choose?plz help me

Hi all,
I've got a DeckLink 4K Extreme and Premiere Pro CS6. I am wondering what is the best monitor to plug it into for colour grading (via Speed Grade or Da Vinci Resolve Lite), as are the rest of you, it seems. As 4K monitors are now coming out I wondered about the Dell UltraSharp UP2414Q, connected via HDMI:
http://accessories.euro.dell.com/sna/productdetail.aspx?c=uk&l=en&s=dhs&cs=ukdhs1&sku=8452 18
What do you good people reckon? This is bang on my budget of £1000 + VAT. Or is there a better bet?
The colour support says:
Colour Gamut (typical): Adobe RGB 99%, sRGB 100%
1.07 Billion colours (8 Bits +AFRC)
The much larger (and double the price) UP3214Q is here:
http://www1.euro.dell.com/content/products/productdetails.aspx/dell-up3214q?c=uk&l=en&s=dh s&cs=ukdhs1&baynote_bnrank=0&baynote_irrank=0&~ck=baynoteSearch
The colour support says:
Colour Gamut (typical): Adobe RGB 99%, sRGB 100%
1.074 Billion colours (10 Bits)
Is that difference between 8bit and 10bit going to seriously hamper me? Is there a 10bit 4K monitor in my price range or should I go for a 10bit 2K monitor?
(And yes, I know the DeckLink 4K Extreme is a hefty piece of kit for plugging into a 'relatively' cheap monitor but rather nice circumstances meant I ended up with one, albeit with no suitable monitor.)
Thanks.

HD TV or LCD monitor with HDMI,DVI supported to preview and color grading

Finally I got my canon HFS100 and Intensity Pro now what type of the monitor should I get to preview and color grading video via intensity pro between HD TV or LCD monitor with HDMI,DVI supported and how to calibrate monitor via intensity pro.
Please help.
narkin

The main downside is that an HDTV is designed to be used at TV viewing distance. So it would work fine for presentations, where the audience is sitting more than 5 feet away. But at typical computer screen distance of 2-3 feet, it is the same 1920x1080 pixels spread out over a 32-inch screen. Oh, actually, that HDTV you mentioned is only "720p", which is only 1280x720. That may not look all that good at TV distance either, if you are displaying images that are static (non-motion).
Your eyes will have to work harder to see the same screen real estate, because everything is bigger on the screen. Images and text will not look as sharp (more pixelated) because each pixel is larger. It won't be like using a 30-inch Cinema Display, which has 2560x1600 pixels. Each pixel on that 32-inch 720p HDTV is more than 4 times larger.
A 1080p HDTV would be somewhat better, because that is 1920x1080 resolution.

LCD for Color Grading

I'll need to dive into Color when I finish editing my one-hour long documentary in a couple months. The doc is intended to be shown on a large theatre screen one time, then broadcast on community-access television and lent through our regional public library system on DVD. My question(s): Can the Apple 30" Cinema Display be used for color grading? Or HP's 2480zx LCD Monitor? Would the Spyder3Elite Display Calibration product be useful? Thanks in advance.

Interestingly enough, the options for trying to push a computer text display into being a grade monitor are narrowing down to nothing. The harder people have been trying to make a silk purse out of these sow's ears has resulted in the inevitable conclusion that hey, there really is no such thing as free lunch. Even the vaunted ACD's after watching two of them for nearly three years now, can't hold a calibration for more than a couple of hours and then go magenta. Its because we need so much green to make D65 white. Those poor green dots just peter out and then red and blue take over. So you better be fast, because you will be working with a different monitor for the second half of the day.
An interesting thread on a pro telecine site has been discussing the HP Dreamcolor... the general conclusion is that it is probably great for a cubicle farm full of compositing and animation artists who more need a match between them than truly accurate colorimetry. At least its consistent. A high end grading device company member warned against using certain types of "probes", since at varying resolutions of display, you really have no idea what the thing is integrating to come up with a white point.
One of the really huge things that is missing is the ENVIRONMENT that the grade is taking place in. Sure, the monitor is important... but almost equally so is the room in which it is situated... its ambient illumination and the requirement for a constant contrast neutral 18% D65 background against which to judge the monitor itself, not just what it is trying to display.
That's one of the reasons that the COLOR GUI is that "ugly" grey.... even though its probably not grey at all if the monitor you're using to display it is whacked. Every time you look at it... it is influencing the balance of your target image. Imagine you're the beer taster at the world's finest brewery.... and what (hold on a minute while I savour the fantasy.... okay, I'm back) but between samples you take a big gulp of vinegar. Right. Is that going to work?
jPo

Color grading - Munsell Hue Vision Test

Just thought I'd change the subject from all of this FCPX talk...
I was watching something about color grading and the Munsell Hue Test came up... I googled it and found this:
www (dot) colormunki (dot) com / game / huetest_kiosk
Anyhow, it's pretty neat (I scored 100%, woohoo!...)

mishmumken wrote:
My score was 67 ...
my score is 18 ...
and as far as I understand the scale, that is not too far from perfect (=0) ...
with a 10y old monitor, never color proofed

Advice for logical workflow for color correcting and color grading

I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage. Can you advise me as to the most logical workflow for doing this in coordination with PPRO CS5? Are there some tutorials that you recommend? I subscribe to Lynda.com and I think that they have some great tutorials, I am unsure as to where to begin looking and what to search for.
Thanks so much,
Lisa

lisaellensegal wrote:
I am an experienced user of PPRO CS5. I am a novice with color correcting and color grading. I am also just barely competant in AE CS5. It has been suggested that I use AE for color correcting my footage.
You can do it that way, sure. But you don't have to. You can accomplish quite a lot without leaving PPro. This has two major advantages. First, if you aren't using AE for anything else, it gets you out of using AE at all, so gets you out of climbing another set of learning curves.
Second, even if you are using AE for other things (I use AE to make motion lower thirds, for example), doing the work in PPro can improve exporting speeds. This is because AE gets restricted to a single processor core in some workflows as discussed in this thread and others (search around if you're interested). This can make exporting take 3x as long or longer, depending on how much footage has to be processed by AE.
So, how to do color correction without leaving PPro? Use either a luma corrector or luma curve effect to set black and white points, and contrast (use a waveform monitor to help). Then use a three way color corrector effect to get rid of any residual color casts (use the vectorscope to help, and the RGB parade, etc.).
If you find you have specific colors that need to be fixed, you can apply another three way color correction effect and use it to make that secondary color correction (for example I find the blue dyes used in many labels tend to fluoresce under fluorescent lighting, and has to be desaturated with a secondary color correction or it "blooms" on an HDTV -- IOW, it has to be made "broadcast safe").
If you want tutorials for using these tools, the ones on Creative Cow by Andrew Devis are quite good, and free. The ones on color correction with PPro cs6 start at tutorial number 47. There's a bunch of them. All good.
Finally, get a copy of Van Hurkman's Color Correction Handbook. May be the best technical book I've ever read, and it'll certainly point you in the right direction for doing color correction work regardless of which tools you use to do it.

Color grading inside FCP using Lab color space? Any plugins?

Hi guys,
Is it possible to color grade footage with Lab color space? I don't think Apple Color supports Lab so I'm hoping there's some other way. Are there any plugins that allow you to do that? If there are no plugins, are there any color grading apps you'd recommend that support Lab?
Thanks for any tips!
Nick

Why use LAB if it doesn't end up in LAB colour space?
I get the comment by a lot of people who don't understand what LAB is
It is kind of like saying how can a print designer do work on a computer monitor when the printed material ends up on paper as cmyk.
Basically you use LAB because you can do things in LAB that you can't do when Editing in CMYK or RGB. (Note Editing - you convert to RGB or CMYK after.)
The main advantage of it as a Tool is that is treats Tone / Luminance (L) independent to colour.
You can ramp up curves without blowing out the image or shifting the colour.
or vice versa you can change the colour without changing the tone.
You can't do this with CMYK or RGB because the tone of the image, the luminance, is embedded into the colour channels.
And you can REALLY ramp things up and still get great looking images.
That makes LAB a great grading tool - for a look that would be unavailable if Editing in CMYK or RGB.
We have print graders using LAB for work that ends up printed as CMYK,
I use LAB for online work that ends up as RGB - in a professional advertising agency.
By device independent I mean that it is at a level higher than CMYK or RGB.
It is not relying on the output device - a monitor, tv screen or printer - to define how the colour is created.
You can do you work in LAB then export it out to CMYK & RGB with very little loss as LAB encompasses both colour spaces and far far more.
That is what makes LAB a powerful colour space.

After Effects for color grading

Hello. I requested as a new feature the next:
"A special timeline only for import EDL, with only three layers, for video A, B and a transition layer between both, and also perhaps several adjustment layers above, for professional color grading with effects as Colorista 2, for example. After Effects is more suitable for color grading than Premiere for its color management, precise control (mask, tracker, etc) and OpenGL realtime playback. Color grading in the current timeline is possible with only 10-20 layers, but with +100 layer is very dificult, almost impossible.
Also will be interesting the full screen playback mode as Premiere on desktop second monitor, for video preview."
Do you think this is a good idea?

Don't be too anxious to get an entire feature into AE as a single project. Back in the day when we cut and spliced film we worked with a maximum reel size of 1000 feet. That's 10 minutes. Even the colorist at the lab only worked on 1000 feet at a time. When It's time for me to color grade in AE I render to a nearly lossless or lossless 10 bit codec segments or scenes of the movie that go together so that I'm not dealing with every shot.
This is actually the same way I cut. I cut Scenes together as individual sequences then I drag all of the scenes into a new timeline that is the movie. If a scene needs work then I just open up that scene's timeline and make the changes. This is easier in the long run, faster, and especially easier when you're trying to fine tune the story and the performances. I know a lot of editors that work this way. I've never seen anyone with a bunch of experience just start at 00:00:00;00 and start cutting a show from the first shot to the last. I've never known anyone that was that good.

Images Change Colors between monitors while the UI stays the same

Hey! Im having an issue where photoshop changes the colors when I move the window between my monitors, seen here: http://sta.sh/04y5s60vf3j This isnt due to the monitors themselves being different, it actually changes after a few seconds of moving it inbetween the monitors. The left one has been callibrated with a spyder 3 elite which I no longer have access to. I applied the file with windows color management instead of the spyder utility. The second one is new, and it is not callibrated by anything, but instead was done by hand with the built in brightness/contrast/custom RGB settings. Both of them are very close to eachother, enough so for my tastes. but when photoshop changes what the image looks like, it's causing problems. Interestingly enough, when I disable callibration for the monitor on the left, the image does not change colors between monitors, but instead always appears as it does on the right. but then they don't match up and the whole screen looked washed out because it's uncallibrated, so that doesnt do me any good. Another interesting thing to point out, is when this image is saved as a .JPG, and viewed with firefox the image appears exactly like the monitor on the LEFT (which is my main monitor) despite the left monitor being the one that is force changed. does anyone have any suggestions? It also appears that windows photoviewer is behaving the same way, though firefox does not. Meaning when I open an image in all 3 on the left monitor, they look the same, but when opened on the right monitor, windows photo viewer and photoshop both display the image as brighter and redder than firefox does. This is frustrating, because it seems photoshop is changing the image with my callibration on my left monitor to match what it looks like on the web, which it does. but it doesn't do this for the right monitor, or when the left is uncallibrated. Another issue I can see with this is even if the UI is the same shade of gray, the images are different between the monitors because of this change. Does anyone have any suggestions?
- BD

Alright! So I reread through all this, poked at some things on the internet, and I'm going to attempt to summarize what would be a good solution for all this (And it seems, it still won't be perfect, but to get myself into the best environment I can for not messing with images for an hour trying to make them look nice before I post them to the web. I painted something yesterday on the cintiq, popped it over to my laptop screen and it just looked washed out and terrible.)
1. Get a X-rite EODIS3 i1 Display Pro, Callibrate laptop and cintiq. I do have the money to drop on something like this, especially if it's a time saver.
     Things I'm not sure about:
          a. There was a ton of complaints about the software not working when I checked reviews, but also a ton that said everything was great. most of them were mac users though.
          b. I'm not sure if problems would still be posed, even while calibrated, by me having a wide gamut monitor.
          c. I'm a terrible excuse for a human being and I think the colors showing up brighter on the wide gamut screen is pretty (I should just make my images this bright on a normal screen and there won't be any issues. >.>)
2. Set Firefox to color manage (easy enough)
3. Change my photoshop working space to sRGB (since they'll have been calibrated at this point)
3. Accept the fact that most of the people who look at my work will be doing so on a monitor that is almost certainly uncalibrated, and I can't control what they will see on my screen, but I CAN control if the colors are -actually- what I want them to be on any properly calibrated device. which is probably the best way to go anyways.
4. Make paintings, have fun.
Now, you two have been going on about all sorts of interesting things in here, and it seems that calibration issue run much much deeper than I ever thought. Do either of you have recommendations for how I should tweak this list of things to do or other things I can/ should do? I'm not currently a working professional, but if I have anything to say about it, I will be within a few years (I'm going to school for illustration and studying concept design on my own time) so it'd be useful for me to get into good habits now.
- Brendavid

Color grading controller used in Apple's video?

Hi,
I was watching an "In Action" Final Cut Studio video on Apple's website (the "Euro RSCG" one to be more precise):
http://www.apple.com/finalcutstudio/action/
and I was wondering what Color grading controller was that guy using?
http://movies.apple.com/movies/us/apple/mac/finalcutstudio2/2008/inaction/applefinalcutstudio_eurorscg_20080617640x360.mov

It's a JL Cooper control surface. http://www.jlcooper.com/cgi/index.cgi?home

Connecting Color Correction Monitor To My G5 (Help Please)

Hello everyone. I'm getting ready to begin color correction on a DV feature I've just finished audio post on. I have a Macintosh dual 2Gig G5. It's an early G5 that has PC133 slots, however, and is NOT HD compatible or ready. I cannot use an HD video card (AJA, etc) or an HD monitor for cc - and simply cannot afford an AJA IO - so I'm going to work with SD. In the research I've done it looks like the JVC DT V1710CGU - a 17" monitor that is said to have decent critical color correction capabilities is what I might purchase (here's a link to one)
http://images.google.com/imgres?imgurl=htt...s%3Den%26sa%3DN
How would I be able to get my video out to the monitor using my G5? The reason I ask this is because, simple as I thought it was, when I went to purchase the actual monitor and the tech tried to use it to see video from his laptop . . . it didn't work.
He plugged from the computer to the JVC monitor using a DVI to VGA adapter connected to a VGA to RGB cable (the DVI end of the adapter being connected to the computer) and connected that RGB end of the cable into the JVC.
He tried a lot of different monitor formats in his laptop to try to conform the computer's signal for the JVC, but nothing seemed to work. I myself have a Sony DVMC-DA2 analogue to digital media converter that I used to get video from the G5 to view on an external television set. The media converter is connected to the G5 via fire wire, and then connect to the tv using RCA cables, but the tech said that you DON'T want to connect the JVC monitor using RCA cables (composite . . . right?). He said use RGB cables (component).
Does anyone know, again, how to be able to get the JVC DT V1710CGU to output video from my G5 (Final Cut Pro specifically)?
Any help would be appreciated.
Thank you,
Javier Calderon

Thank you much for the prompt reply, David. I really appreciate it.
I just realized right now - after reading your post and investigating, that is - that my Sony DVMC-DA2 has S-Video in and out. This seems that it would be sufficient then, no? So . . . what's the proper connection then? Let me know please if this is it:
Connect my Sony media converter to the G5 via fire wire. Go out of the media converter via S-Video and IN to the JVC color correction monitor . . . via . . . what? Does the JVC monitor have S-Video in?
Thanks again for your help, by the way. You've already clear me up a bit.
Javier

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.

Looking for Pre-Rendered Editing / Color Grading Workflow suggestions.
All my material is rendered via RenderMan, our resolution is 1280x544, and our format is generally .exr in 32 bit space.
Our editor has been converting over to 32-bit tiffs, and using Apple Intermediate Codec for editing, mostly for speed concerns.
We need to re-vamp our workflow so that we can edit our footage, and then do color grading of the edit head to tail to smooth the look between scenes. We want to do this in Color, being fed by Final Cut Pro's timeline.
We want to keep our bit depth as high as possible when coming into Color.
My question is, does anyone here have any workflow suggestions for doing what I am talking about.
I wasn't sure if we should just export and EDL from FCP and try to get Color to load our single frames from that. Or if there is a special Quicktime wrapper we should be using, or converting our 32-bit .exr files into some other format more readily available for using in Color?
Any thoughts would be great, thanks in advance!

You're not going to get anywhere beyond 10-bit. That's it.
Try encoding to 10-bit LOG dpx if you need upscale RGB.
jPo

Günstiger Color Grading Monitor

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