If you own an IoHD device from AJA which you use as your input/output device for Final Cut Studio, it may give your HP DreamColor monitor a free ride. As explained in my recent article How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!, the DreamColor monitor is quite attractive, yet quite demanding, since in order to allow use of its color engine (and therefore monitor in ITU-R BT.701 color space), the monitor demands that the incoming signal be both RGB (not component) and true progressive (not interlaced or even PsF). Since the HDMI output of your IoHD can be set up to be RGB… Read the rest of the article.
Posts from ‘May, 2009’
If you own an MXO2, MXO2 Rack, or MXO2 Mini which you use as your input/output device for Final Cut Studio, it may give your HP DreamColor monitor a free ride. As explained in my recent article How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!, the DreamColor monitor is quite attractive, yet quite demanding, since in order to allow use of its color engine (and therefore monitor in ITU-R BT.701 color space), the monitor demands that the incoming signal be both RGB (not component) and true progressive (not interlaced or even PsF). Since the HDMI output of your MX02, MXO2 Rack, or MXO2 Mini can be set up to be RGB, the fact that you own one of these interfaces may be (under certain circumstances) a “free ticket” for the DreamColor. Read the rest of the article.
The 30-bit (10-bit per channel) HP DreamColor monitor is quite attractive for the price, yet quite demanding regarding the type of input signals it accepts, as I explained on page 2 of my article How to connect your HD evaluation monitor to your editing system properly: Let me count the ways!. In order to have the color engine active (which is necessary to monitor in ITU-R BT.701 color space), the DreamColor demands that its input signal over HDMI be both RGB (not component) and progressive (not interlaced or even PsF). If your system doesn’t currently output RGB over HDMI… or if it does that, but doesn’t put out true progressive at the progressive framerate you are editing, then the US$690 Hi5-3G from AJA can help… Read the rest of the article.
In this article, you will learn that the best way to connect can go way beyond the physical connections you see on your NLE’s professional interface and HD evaluation monitor. Believe it or not, it sometimes also depends upon whether you are editing interlaced or progressive… and also, whether your NLE’s professional interface card or box delivers an RGB or component signal over whatever video output connector(s) it has. Read on and you will see how this often does matter, and does affect the way you should connect!
In this article:
- Four affordable LCD HD monitors for critical evaluation
- The HP DreamColor LP2480zx monitor’s unique features… and its special demands
- The importance of 1:1, pixel-by-pixel monitoring
- How to pick the right connection
- Why it sometimes matters whether the output signal is progressive, interlaced, RGB, or component
- Sidebar: RGB versus component video
- Why we can’t simply use Apple’s “Digital Cinema Display”
- Possible future use of DisplayPort
- Allan Tépper’s policy on model nomenclature
- Upcoming seminar in Miami on HD color correction and grading
On February 10th, 2009, I informed our readers that Sony USA was offering upgrades to world-class compatibility on their 3G HDV camcorders. As explained in that first article, the Sony upgrade activates the otherwise dormant modes of these cameras, i.e. 576i PAL, HD 25p, and HD 50i modes, on top of the original “24p” (23.976p), “30p” (29.97p) and “60i” (59.94i) modes. Now I am happy to report that Sony BPLA (Sony Broadcast Professional Latin America) is offering the same upgrade on the same cameras in their region. Read the full article.
Convergent Design has announced a price reduction on their nanoFlash recorder, which we covered during the NAB on April 21st. Now the list price is US$2995 and more features have been added, including an analog audio input, over/undercrank, and native recording of 720p23.976/25/29.97 which comes from the camera with pulldown over 50p or 59.94p. In other words, the nanoFlash will remove the extra frames based upon the metadata. The nanoFlash recorder now offers over/undercranking of a pure 720p59.94p stream. Read the full article.
On June 1st, Allan Tépper and Rubén Abruña of TecnoTur will give a seminar on Color Correction in HD at Midtown Video. More info.
Many of my readers know that I produce a podcast with the same name as my channel here at ProVideo Coalition. The TecnoTur podcast is currently not in English, but in Castilian, the most widely-used Spanish language (but certainly not the only one). I have three co-hosts in the program: Rubén Abruña, Tanya Castañeda, and Liliana Marín, and we have interviewees who participate on the phone from the USA, Spain, and various Latin American countries (so far). When I first sought to choose a tool for audio podcasting, I logically made an analysis of the available tools, taking into account some of the more demanding tasks I needed for the TecnoTur podcast. Of course, I looked at Apple’s GarageBand and a few other audio programs, but none came close to the US$79.95 Übercaster, especially considering our requirements. Übercaster is from Pleasant Software in Offenburg, Germany, and has the features I really needed, plus unexpected time-savers I appreciated later. Read this entire article free in ProVideo Coalition magazine.