Video color warmer in FCP than on broadcast monitor and Quicktime

Hi there!
We shoot interviews yesterday which looks fine on our calibrated video monitor (as well as when we looked at them in Quicktime) but when we import then in Final Cut Pro (v. 6.0.2) they turned too red, like if the guy got strong sunburns. And when I exported a clip from FCP and reopened it in Quicktime, it kept that strong red look. It looks like FCP is changing the colors by itself.
Is there something wrong with our FCP settings?
Thanks for your help.

It looks like FCP is changing the colors by itself.< </div>
You have told us nothing that can help us diagnose this for you. The codec and capturing format would be helpful, don't you think?
You must use scopes to evaluate video objectively. All monitors are subjective depending on the test signal and competency with which it was set up.
bogiesan

Similar Messages

Colors displaying as dull yellowy-green; new monitor and calibration

Just got a new ASUS LCD monitor, and calibrated it with the Spyder 3 Express.
Now when I import a .CR2 file using Lightroom 3 to edit the RAW image, the color is displayed as yellowy-gray and dull. It looks the same when I pull it into Elements 7, unless I remove all color management (which, if I save the image, actually then renders the image colors neon and oversaturated with lots of pink and red tones). If I export the image from Lightroom 3 the image colors are correct and very different from how they look in Lightroom.
I also use the ACR editor with Elements 7 and I am having the same problem there. Upon opening an edited Jpeg or a .CR2 RAW file there, the color is displayed as dull, grayish yellowy-green.
If I view the very same image in GIMP, Picasa or on the web, as long as the colorspace is intact (sRGB), the color is accurate. Not so in Elements or Lightroom.
If you have experience with this problem is it the monitor, the calibration, or Elements and Lightroom? I am beyond frustrated and need to see my colors properly. I have not had this problem before.
Thanks for your time.

I suggest re-reading C S S Simon's and my reply, including the links I provided with solutions and historical explanation – It is apparent you didn't!
Pay your money and make your display choice, but don't blame the wide gamut capable display because you are unwilling to learn how to use the technology advantages it provides!
Please read this factoid:
All Wide Gamut Displays when properly setup to display in a "wide gamut" mode such as Adobe RGB will only display images correctly in color managed applications – PERIOD.
Your Asus display has two factory calibrated modes, Adobe RGB and sRGB, which will only work properly using the color profile provide to you on CD (or downloaded) by Asus – This the monitor profile Asus used when hardware calibrating your specific serial number monitor at the factory. The displays internal LUT contains that calibration information, and there is no way for you to recalibrate it using a Spyder 3 or other hardware calibrator. I am going to paste here three separate solution alternatives I made at the other post – Use only one (1):
Solution 1) Delete your i1 Display custom profile and install the Asus provided PA246Q driver and profile. Then use the monitor's "factory calibrated" Adobe RGB wide Gamut selector mode with Lightroom and other color-managed applications. When using non-color managed applications, switch your monitor’s mode selector to sRGB. Calibration using i1 Display or other hardware device cannot be used with this option. User hardware calibration should only be performed using the monitor's 'User Mode.'
Solution 2) In addition to your Asus PA246Q wide gamut monitor, install a second standard gamut sRGB monitor. Calibrate both monitors separately using your i1 Display unit, which will create separate profiles for each monitor. Use your Asus PA246Q wide gamut monitor only with Lightroom and other color managed applications. Use your second sRGB monitor for with both non-color or color managed applications. You may still have issues properly calibrating your Asus PA246Q monitor with its proper 'User Mode' selection as others have reported, but the results should be better than what you have now.
http://forums.dpreview.com/forums/readflat.asp?forum=1004&message=3897 4810&changemode=1
http://forums.dpreview.com/forums/readflat.asp?forum=1004&message=3908 1965&changemode=1
Solution 3) If none of the above works for you, get rid of the Asus PA246Q and buy a good standard "non-wide gamut sRGB display.

Broadcast monitor and FW hub

hello - I have the macbook pro with the 1 firewire output. I want to have a FW400 harddrive with my media hooked up to it, but i also want my camcorder hooked up to the computer to act as a convertor so i can use a broadcast monitor. my question is, can I make both devices (camera and harddrive) work with the only 1 FW port on my laptop? If I use a FW hub, will that slow down the speed of the firewire connection? what will happen? If I got the 17 macbook pro with the 2 fw ports, do those ports act independently? thanks!

ok jerry, thank you so much. if you don't mind, i have one last question (honestly). so here are my devices for my station.
1. laptop with 1 fw400 drive (soon to also have the cardbus fw800)
2. external 400/800 lacie drive
3. videocamera for use as deck / convertor for monitor
4. external monitor for color correction etc.
how would you say is the best way to connect all these for editing / capturing? i want to just edit 4X3 SD and capture to the external.

Dvd of non-broadcast standard size video movies possible with FCP & DVDSP4?

Hi all,
I pulled my hair out trying to produce training tutorials with screencasts (Snapz Pro X2) using FC Express and iDVD. After months of trial and error (and tons of Q&A), it was finally explained to me that I couldn't do this with FCE and iDVD because they were hard wired to output to ntsc/pal or miniDV formats etc.
So I've invested in FC Studio and it should arrive in a few days. My question is, how can I edit my video screen captures in FCP (for example captured at 800x600 pixels, 30fps) and then using DVD Studio Pro, create a dvd that can be viewed on a computer monitor (not interested in playing on a tv)?
The problem I was having before was that every time things were converted down to 720x480, all the video got blurry and I ran into problems with the square pixel vs non-square pixel issues that I never could figure out.
Will DVDSP let me somehow create an interface for playing my clips on a computer, but not force me into the ntsc/pal standard format? Or, even if it does force me into this format (I guess it would if I'm expecting to play it using Apple's DVD Player), is there a way I can ensure my video stays sharp? I need to be able to display small on-screen text (ie Finder windows, application pallets etc) in the screen captures clear enough to be easily read.
I know if I leave them as edited QT movies and played them with the QT Player, this would be easy, but I like having chapters and the attractive interfaces I can create with the dvd authoring apps to help the user navigate through the tutorial.
Any help at all is appreciated.
G4/1.3Ghz DP AGP Mac OS X (10.4.6)
G4/1.3Ghz DP AGP Mac OS X (10.4.6)

Thanks Hal,
I'll give this all a try again. I've done four tutorials so far. Mainly to assist in training others that work with me on projects. The first one, I did as you suggested because I was able to size things down to fit within our ntsc format here in the USA. But the last three used apps that didn't permit sizing their main windows and pallets down to these small sizes, plus there were times where I needed to show close up of data entry fields.
In any case, the next time I do this, I'll be using FCP and not FCE, thus I hope this will solve some of the export format issues. FCE really only works with miniDV formats (and HD video). Although I can export to a QT conversion file and keep everything looking great, I'll loose all my chapter markers doing this and the video will go through another conversion when I process it for standard dvd playback.
I'm hoping FCP will provide me an option for exporting the project in a format that'll work with iDVD/DVDSP that'll maintain the clarity of the original clips generated via SPX.
Thanks for your help. What I didn't want to do was spend weeks trying to do something in FCP/DVDSP that couldn't be done.
BTW, if you look at the sample tutorials for FC Studio on Apple's web site,
http://www.apple.com/finalcutstudio/tutorials/
those are REALLY done nice. That's what I'd like to be able to eventually do. They manage to do zooming, panning and have pallets "slide" into the viewing area. Granted a lot of this is done in post, but I'd still like to know how they get these results and what tools they're using.
They also say that this tutorial is available on the dvd that comes with the suite, so somehow they've gotten all of this to work (but aren't telling us how). I've been looking and asking questions for over six months and can't find ANYONE doing this type of work, that'll say how this type of stuff is done.
Subala

Different look in brightness and contrast in Color as in FCP

Hello,
I've got a problem since the last pro applications update. Since then my clips got a different look in brightness and contrast in color as in FCP.
If I send a clip from FCP to color, it looks more dark with higher contrast. If I send it back to FCP you can see the made changes, but the brightness is higher and contast lower again. And I mean a huge differnce between the both programs.
Before, it was like identical. So, in the moment, it is difficult to make exact changes and the worklow is not so efficent anymore.
Has anyone the same problems or an idea to solve the problem?
THX

Patrick Inhofer wrote:
That tech note specifically discusses how FCP's assumption about RGB files forces it to handle their gamma differently than "YUV" based file formats.
Relevant bit:
Final Cut Pro assumes that QuickTime movies for codecs that support the YUV color space (including DV, DVCPRO 50, and the 8- and 10-bit Uncompressed 4:2:2 codecs) are created with a gamma of 2.2. This is generally true of movies captured from both NTSC and PAL sources. When you eventually output the sequence to video, or render it as a QuickTime movie, the gamma of the output is identical to that of the original, unless you've added color correction filters of your own.
*However, during playback on your computer's monitor, Final Cut Pro automatically lowers the gamma of a sequence playing in the Canvas to 1.8 for display purposes. This is to approximate the way it will look when displayed on a broadcast monitor. This onscreen compensation does not change the actual gamma of the clips in your sequence.*
So what's displayed in the Canvas is an approximation of the "correct" gamma and relies on many assumptions about the media that may not be accurate.

DVI to Video adapter CRT Broadcast Monitor? Is there a better option?

I am a freelance motion graphics artist, and I use Final Cut Studio, After Effects, Photoshop, etc.
I need a CRT monitoring solution for checking my color grades, etc.
SD resolution is fine, and i've got my eye on a JVC TMH-150CGU broadcast monitor from B&H. It has an S-Video (Y/C) input.
I'm thinking of using the Apple DVI Video Adapter hook up to it via S-Video.
I have a Pantone Eye-One that I can use to calibrate the monitor.
Would this setup work ok in the above applications? Will it support Digital Cinema Desktop Preview in Final Cut?
I have the 30" Apple display. Will connecting the CRT via DVI steal 256mb of my video memory???? That seems drastic considering it's already driving a 30" display AND running after effects!!
I've thought about FireWire monitoring, but I suspect the FireWire/DV 4:1:1 compression will affect the colors.
I know a CAPTURE CARD would be ideal, with SDI, etc... but I don't really have a need for a full blown capture card at the moment. I don't think use it to it's full potential (ie- to capture). It seems silly spending $$$$ just for a monitoring solution.
Or is a capture card my only option for pro monitoring? If I was to buy one, i'd want a future proof one should I digitize in the future (ie, HD, with analog support), so that leaves either a Blackmagic Intensity Pro (which I believe is only 8 bit) or a BlackMagic Decklink HD Extreme. And then i'd also need the SDI or Component expansion card for the JVC monitor, and before I know it, i've spent over $1000, just for a decent monitoring solution. Ouch.
I strongly considered the Intensity Pro card, because I could monitor SD component, and HDMI HD from the same card. But it put me off when I heard it ws only 8 bit. But it is 4:2:2 though.
What might KILL the Apple DVI adapter option is I have a TON of PAL footage, and I heard the adapter is NTSC only (or a seperate PAL version). So even though the monitor supports both standards, the adapter doesn't. Or so I've heard.
Very confused. Any other options or advice would be greatly appreciated!
Thanks!

Hi,
From the sound of things you have answered your own question.
If you wanted a CRT to just check video playback, safe areas and text legibility then a cheap option of monitoring via a deck or camera would suffice.
You mention a lot of PAL footage just as a FYI this would be 4:2:0 as opposed to 4:1:1 with NTSC under the DV codec.
You don't mention (and I'm sorry if I missed it) what codec you output to. I had always found when working with DV only that a DV monitoring solution was sufficient for most applications.
However as you indicate that colour plays a factor in the equation bite the bullet and get a decent monitoring system from the off. I am using the Decklink Extreme and have found it to be excellent especially in real time conversion and monitoring of HD to SD.
In addition you get the ability to work all the way up to 10bit (drives allowing) and capture over SDI with full deck control.
You could stagger the cost since the BM card will let you monitor composite out in addition to component so the expansion board for the CRT might not be a must have from the get go for you.
Whatever route you go you will want to calibrate the CRT using broadcast colour bars rather than a Pantone system, theres plenty of info on the web regarding this . . and why.
Message was edited by: Steve Mizen

Z1 viewfinder colors don't match captured footage on TV and FCP

Hi.
I shoot underwater on a Sony Z1 and white balance using the viewfinder to what seems a satisfactory result. However, once captured, the colors of the footage on both the Z1's LCD and its viewfinder simply do not look like the colors in FCP or on any monitor (neither broadcast monitor, nor regular TV).
This is especially exasperating on days when the water has a greenish tint. When I white balance to make it more blue, it does appear blue in the viewfinder while shooting, but then turns out as green on tape (like it actually is).
I'm not able to shoot colors properly if I can't rely on what the viewfinder shows me. We've checked the Z1 manual and tried all sorts of things (color extract etc), but the only thing one seems to be able to do about viewfinder colors is adjust saturation and brightness. Not hue or such. Anyone know details about Z1 color settings?
Or could this have to do with the capture settings? I shoot 1080i50 and use the same HDV-1080i50 Easy Setup in FCP.
We want to avoid color correcting the HDV material too much in post, so I'm trying to get the best result whilst shooting.
Any ideas gratefully appreciated.

I think Zeb means match the image on the LCD to that on the monitor.
However, remember that underwater you have two issues to contend with: the LCD image has to pass through your underwater camera housing, through water and your mask before you see it. All that affects colour.
Seconds, more importantly, the deeper you go, the further towards the blue end of the spectrum your ambient light shifts. You need to white balance regularly, not just once. When you change depth, when lighting conditions change etc.
Take a look here: http://www.kenstone.net/fcphomepage/white_cardsdouglas.html
Useful info on Warm White cards.
And here:
http://www.timsaxon.co.uk/Uwvideo.html
For filter info.
Basically, ignore your LCD as a reference for colour and make sure you white balance regularly. Whatever setup you do on the surface will change the moment you're in the water.
Edit: Also, to make life easy, consider topping each shot with an underwater reference chart and correct to that in post:
http://www.bhphotovideo.com/bnh/controller/home?A=details&Q=&is=REG&O=productlis t&sku=330876

FCP through to External monitor....Sound fine but video is still frames

Hi everybody
In January of this year this problem was posted by Andy D.....
+No matter what combination of settings I choose I cannot get video to play on my HD monitor only a still of the last frame shows up. When I hit play the audio is loud and clear and then when I hit stop the final frame appears on the screen.+
I have this problem but only when the material in my FCP viewer, canvas or sequence is ProRes422 (I'd converted H264s to this before importing into project)! If the project is DV or H264 material that has been rendered by FCP, it plays on the external monitor fine but it seems if we start looking at the high end stuff like ProRes, back to sound but still picture.
I might add here that the path to my external Full HD monitor is through firewire to an ADVC100 converter and then composite cables to the input of the monitor. By the way the same thing happens with an SD monitor.
I haven't tried using my video camera as the link through to the monitor instead of the ADVC100. Would this make a difference? I'd be pretty happy if someone had a solution for this.
Thanks in anticipation.
Peter L

Unless the camera is a DVCPRO HD camera...like the HPX-170...this won't work. Not via HDV or AVCHD. Playout isn't as simple as it was with DV. There are far cheaper capture cards...Decklink Intensity Pro, Matrox MXO2 mini...but you need a MacPro for those (or with the MXO2 MIni, a laptop with an Express34 slot). An iMac is severely limited in what it can do.
Sorry.
#25 HDV external Monitor Viewing
Shane's Stock Answer #25 - HDV external Monitor Viewing
To view HDV on an external monitor in high definition you are going to need to purchase a capture card, like the ones Decklink (www.decklink.com) or AJA (www.aja.com) offer. They will both play out HDV in real time. The catch is that you cannot view this on a regular TV or NTSC monitor. Since this is HD, an HD monitor will be needed. HOWEVER, both cards are capable of down converting the signal so that it can be displayed on an SD monitor. This won't be color accurate
The real reason why you can't monitor HDV through a Firewire camera is because Firewire HDV cameras don't decode incoming HDV streams and route them to their outputs like DV cameras do.
Good options for you are the Matrox MXO2 mini...$450...coupled with an HDTV. Or a Matrox MXO (DVI connection) coupled with an Apple 23" display gets you good quality.
And there are the Decklink Intensity and Intensity PRO cards as well, and the AJA I/O Express...
You can, however, view HDV out via firewire as DV...lowering the resolution to that of DV, but still viewable. This is not full quality nor should it be used to judge the quality of your footage or used to color correct to. This is just a way to view the footage on a large monitor.
Here are some examples of some of the possibilities:
- DV or HDV sequence output to an SDI signal on a third-party interface
- An uncompressed NTSC or PAL sequence output to a DV FireWire output
- An HDV sequence output to a DV FireWire output
Sequence and output formats must have compatible frame rates. For example,
sequences with a frame rate of 60, 30, or 24 fps can be output to a 30 fps device,
but not to a 25 or 50 fps device.
Shane

Can an LCD TV work as a Broadcast Monitor thru Matrox Mini for Color?

Hey guys,
since the actual Broadcast monitors are so expensive,
will an LCD tv work as a broadcast monitor thru Matrox Mini for Apple Color?
Thanks,
CJ

It's probably better than nothing. Unless it isn't. Depends on the TV. I always think it's good to view your efforts on a regular television, but because they do their own processing in an attempt to "improve" the image, it's best to take the results with a grain of salt...
Patrick

Using BlackMagic Intensity Pro Video Compression card with FCP in a MacPro

BlackMagic is offering the Intensity Pro card that they claim is enhancing the quality of video compression for better results than software driven compression, even with Standard DV in addition to HDV, and at a surprisingly cheap cost (less than $300).
http://www.h-digital.com.au/hardware/hardwareview.asp?id=152
As someone used such hardware driven compression card in a MacPro ?
Does-it really help making better quality DVDs?
If not are there better hardware driven compression card?

7-8 years ago, we said that analog video was at the low end and DV was at the high end.
Uh, DV was NEVER on the high end. Digibeta and Beta were analog, and were HIGHER end than DV. Just because it was digital doesn't mean it was better. DV is compressed 5:1 and has 4:1:1 color sampling. Beta was 4:2:2 and better than DV...and Digibeta was and still is the high end SD format. DVCPRO 50 a close second. No...DV came in on the low end...like HDV comes in on the low end of the HD spectrum.
If this Intensity card does not help to get better compression than software driven compression, is there another card which can do so ?
Well, I answered this, but you must have missed my answer, so I will bold it for you: *THERE IS NO CARD OUT THERE FOR THE MAC THAT WILL AID IN DVD COMPRESSION.* I don't know about the PC side, so I make the statement to include MAC only. There are several hardware solutions for encoding DVDs that distributors use when making the theatrical DVDs like OCEANS 13...but those are separate hardware encoders. And no, again, those encoders are not available on a Mac.
What I mean at the end is to find ways to have higher quality DVDs than when using software such as Compressor. Do you follow me ?
I follow you....you aren't following me. Since I am an editor and not a distributor, I don't know what those solutions are. They exist outside of the editing world, so you have to GOOGLE this or look elsewhere. Needless to say, the Intensity does not aid in this. No capture card does. That is not what they are designed for. They are designed to capture non-firewire formats and to output to non-firewire formats...not to aid in DVD compression.
Shane

Xmas is Coming! Would You Like 50 FREE Video Tutorials for FCE/FCP?

Ripple Training produce some excellent tutorials on CD.
However, they also give away over 50 video tutorials for FCE/FCP.
Many of them are for FCP BUT (most) also apply to FCE.
They deal with each topic in a short and punchy style. I found them easy to follow and learned some useful quick tips.
They are QT movies which can be downloaded so that you can use them whenever you want. (Allow about an hour to download them all - you have to do them one at a time). I found it quicker to download all of them (except for a few dealing with multi-camera work etc.) rather than viewing them on the website to sort them out.
http://www.rippletraining.com/engine/free_tutorials.html
Hope you find them as useful as I did.
Ian.

Just a couple of additional points for newcomers:-
1. The estimation of an hour (or so) to download them all refers to Broadband (ADSL). Normal "Snailmail" internet will take around 10 hours!
2. To download each lesson choose File>Save Page As. A window will appear saying it will be saved as a QuickTime Movie on the Desktop. Click Save.

Best camera for importing HD video files native to FCP?

I am researching what type of HD video camera to buy. The goal is to have video material captured to a memory card or stick and have the resultant video files available for direct import into FCP. I have used rented cameras in the past where I had to go through a convoluted process of importing the video material into iMovie, and then exporting the material from that application, so that the video files were usable by FCP.
Any info on how to judge whether a camera will create files that can be imported directly would be very helpful. I have read, for example, that if the camera creates AVCHD files, you can't edit natively in FCP. I am looking for a camera that is relatively portable, and has image quality one notch below pro standards (to keep cost under $1,500 I hope.) Thank you in advance.

Hi again, Guys.
In this discussion, the consensus was that the Panasonic HMC-40 was a good choice at a modest price for shooting HD material that would be cut on FCP 7. Sadly, I neglected to say, when I started the discussion, that ideally I need to shoot both in the US and the UK. i.e. at 60 Hz and at 50 Hz respectively. When I researched the Panasonic HMC-40 I was told that it could not switch between 60 and 50 Hz. But that the next camera up COULD switch. That camera is the AG HMC 151 E. I was told this by a Panasonic rep in the UK. But the problem is that I would like to puchase the camera in the US. The US model is the AG HMC 150. And that model it seems DOESN'T switch between 60 and 50 Hz. It only shoots 60. (Why Panasonic has done this is a mystery to me.)
On a tech discussion group about HD shooting, one person said that the problem with shooting 60 Hz in the UK is mainly lighting, e.g. if you are shooting with florescent light in the UK, you might get flicker if you use a 60Hz camera in the UK. So my questions are:
1) If I am shooting in the UK with a 60 Hz camera (i.e. a camera I have purchsed in the US that is not switchable) what are the biggest problems?
Is it only if I were shooting in florescent light, or is the quality overall a big problem.
2) If I shoot 60 Hz but am shooting in the UK, can I use FCP to convert the 60 Hz materail to 50 Hz and will that solve any image problems?
3) Now that I have mentioned that I would like to be able to shoot in the UK and US with the same camera, but that I want to buy the camera in the US, does anyone have another recommendation of a camera that is in the $2,000. range that would serve this purpose and still create files that would work well in FCP 7?
Do Sony or Canon address this switchable 60/50 Hz issue more effectively than Panasonic? In the earlier discussion, it was noted that Panasonic cameras created files that were easiest to use with FCP.
I am sure I have said things here that reveal how unknowledgeable I am about shooting HD. But this will be my first camera purchase after having been an editor for over 10 years. Any advice most welcome, and thanks in advance.

PROBLEM SOLVED "export clips from Color back into FCP & add transition"

If I have two clips that you cannot place a transition in between here is the only thing that worked for me.
I discovered this problem after I exported my movie clips from FCP 6 to Color and imported the color corrected files from Color back into FCP 6. I could no longer add transitions to any of my clips unless I made the following changes.
1. 1st check to see if the video clip has an audio track underneath it. If they are not linked Select the audio and the video track to be linked, hit Command "L" and you will see an underline under the audio and video name to show that they are now linked. Do the same for the adjoining video and audio track.
2. Next select all of the clips after the video clip you just selected by typing "tttt" this changes to the "Select All Tracks Forward Tool". Click on the track after the video track you just linked and it will select all of the tracks thereafter. Hit the "A" button to change back to the selection tool and move all of the selected tracks away from the previous video/audio track.
3. Next type "RR" this will change to the "Ripple" tool. Now click on end of the video track on the previous video clip and type -15 (for negative 15 frames). Then click on the beginning of other video clip to the right that you linked and type +15 (for plus 15 frames).
4. Type "tttt" to change back to the "Select All Tracks Forward Tool" the hit the "A" button to change back to the selection tool and drag all tracks back together again.
5. You may then drag and drop your transition in between both video clips.
I hope this helps someone...this is the only thing that worked for me!!!
Number1talent

I am working with mostly DVCPro ftg, with a few clips in MiniDV. I did have roughly 10 clips with speed changes, but they exported fine two weeks ago, when I did this the first time. (Actually, it didn't keep the speed changes, but it did export with media to FCP).
The clips do have reel numbers and seem to be of the right length per clip but there's just no picture and no assoicated media with which to relink the clip.
I'm on Color 1.5.3
Any possible ideas? Thank you for your help...

Color Correcting With a Broadcast Monitor?

I have read the threads and recognize that it is suggested to color correct on an external monitor. I saw a few suggestion that you could use a standard TV with a blue filter to replace the blue only switch. Is there an advantage to color correcting on my LCD TV rather than my powerbook?
Thanks

I'm sorry, I literally wrote the word "NO" and was called away, for some reason feeling compelled to hit "send".
In the sense of a real signal check there is little difference difference between your LCD as a video monitor and seeing it on a computer monitor.
But:
- it' frees up screen space.
- it will probably be more adjustable and capable of getting closer to video gamma and color than the computer screen.
So I guess the answer should have been "Yes, but..."
The buts are:
- it still won't be close enough to avideo gamma and color to be useful as a reference monitor,
- the timing won;'t allow you to see motion artifacts and interlace as they really are.
To answer the last part: yes, it should be different going through the camera and receiving a video signal as opposed to the DVI.
But really not for color correction.

Color sent to FCP - New Clip in FCP that also needs color correction

Good evening, is there a way how - after having color corrected the FCP project in Color - to exchange or add a new clip into the FCP project, which can be color corrected in the same, initial Color project.
Meaning: I was "lazy" and I didn't bake a Motion Clip, which of course isn't showing in Color.
Now, I tried to be "smart": Exported the Motion Clip from FCP as Quicktime movie. Than went to Color and relinked media, with that new baked clip, which is the exact same length... That doesn't work...
Hm. I am being ignorant?
Thank in advance for the help.
Sincerely,
Miss Snoozy

In your case, if you're up to date on version (1.5 or later), then a Reconform will probably work for you.
Create a new FCP sequence with the revised "baked" clip, export an XML file, open the original COLOR project, select Reconform from the file menu, select the XML you just created and hold your breah, cross your fingers and hopefully it will work.
jPo

Video color warmer in FCP than on broadcast monitor and Quicktime

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