Gary McClurg Posted October 12, 2006 Share Posted October 12, 2006 (edited) Looking for some good feed back... please lets let this thread be without any flame wars... :) Done 4 features on 35mm and in the midst of selling the last feature we did with a Cine Alta, but my question is regarding the raw image of the Red sensor. What monitor would or could we use? I know with the Varicam not sure if its what they call the paint box that hooks into a monitor or its the monitor itself... but there is a way to see the image, gamma curves, etc. that the dp has set up so that the director, producer and di can view what it would look like for a film out... I'm wondering if their is a way or how could you or how would you go about doing the same thing with the Red... I know that they used a monitor that cost $5k at IBC for viewing the footage... but that is footage that was corrected etc, in post... maybe it doesn't even have to be 4k at the moment... but since that's the best the camera can do we'll start there and I'm wondering about the same for 2k or 1080p Edited October 12, 2006 by Gary McClurg Link to comment Share on other sites More sharing options...
Chris Kenny Posted October 13, 2006 Share Posted October 13, 2006 See here. Basically, the camera has built-in LUT support for monitoring. Link to comment Share on other sites More sharing options...
Gavin Greenwalt Posted October 13, 2006 Share Posted October 13, 2006 See here. Basically, the camera has built-in LUT support for monitoring. Or there are a number of HD displays that now can also take a LUT directly. You might want to talk to someone like Truelight if you're serious about your onset/post color consistancy. I wouldn't expect your workflow to be too different color wise from your current CineAlta pipeline. - Gavin Link to comment Share on other sites More sharing options...
Emanuel A Guedes Posted October 13, 2006 Share Posted October 13, 2006 Sharp 4096x2160 64-inch LCD monitor http://news.com.com/Sharps+very%2C+very+sh...ml?tag=nefd.top Link to comment Share on other sites More sharing options...
Gary McClurg Posted October 13, 2006 Author Share Posted October 13, 2006 Sharp 4096x2160 64-inch LCD monitor http://news.com.com/Sharps+very%2C+very+sh...ml?tag=nefd.top Yeah I can just see the grips trying to get this into a smalll room so that everyone can watch.... :D Link to comment Share on other sites More sharing options...
Patrizio De Sica Posted October 14, 2006 Share Posted October 14, 2006 RED ONE serial numbers #0000111 #0000647RED 18-85mm ZOOM LENSES serial numbers #0000156 #0000157 RED 300mm LENS serial number #0000082 WOW Emanuel... You will be there! Auguri! Congratulations! Link to comment Share on other sites More sharing options...
Premium Member David Cox Posted October 14, 2006 Premium Member Share Posted October 14, 2006 I would suggest that you don't need to look at a 4K picture on set from a 4K camera. 4K is a format designed to make the best use of very large screens - i.e. cinema screens. On set, if you were looking at a small to medium size screen up to 50", HD resolution would be sufficient to see the resolution results. Actually it?s very difficult to see the difference between 720 and 1080 on a 32" HD monitor! A more important function as you mentioned is the handling of colour and particularly the look up table. I was impressed with the CineTal monitors (http://www.cine-tal.com/) at NAB this year as they not only had the ability to load in custom LUTs, they could also run a picture through the LUT and out again to (for example) make viewing quality digital rushes via the LUT. David Cox Baraka Post Production www.baraka.co.uk Link to comment Share on other sites More sharing options...
Chris Kenny Posted October 14, 2006 Share Posted October 14, 2006 It'll be interesting to see how flexible RED's on-board LUT support is. Is this just a feature that lets you tweak some curves on the camera, or can you actually create a complex custom LUT and download it to the camera? What I'd really like to see is the ICC workflow that's now widely used for prepress and photography extended into the video world. There's no reason we shouldn't have ICC profiles for cameras, digital cinema projectors, etc. and ICC support in desktop video software (AfterEffects has it already, actually). This would, among other things, let people do accurate color grading on calibrated desktop monitors, instead of having to rent time at facilities with calibrated DCI projectors.... (Of course, you'd probably still want to do that once at the end as a final check.) It's really pretty exciting how close we are to the point where you'll be able to completely finish a 4K movie on a computer in your bedroom. (Assuming you have a $4000 workstation in your bedroom. What, you don't?) Link to comment Share on other sites More sharing options...
Gavin Greenwalt Posted October 14, 2006 Share Posted October 14, 2006 It'll be interesting to see how flexible RED's on-board LUT support is. Is this just a feature that lets you tweak some curves on the camera, or can you actually create a complex custom LUT and download it to the camera? They say they can load Custom LUTs created in another application onto the onboard memory. Link to comment Share on other sites More sharing options...
Emanuel A Guedes Posted October 14, 2006 Share Posted October 14, 2006 WOW Emanuel... You will be there! Auguri! Congratulations!:) Link to comment Share on other sites More sharing options...
Gary McClurg Posted October 14, 2006 Author Share Posted October 14, 2006 (edited) I was impressed with the CineTal monitors (http://www.cine-tal.com/) at NAB this year as they not only had the ability to load in custom LUTs, they could also run a picture through the LUT and out again to (for example) make viewing quality digital rushes via the LUT. Thanks David any idea about the cost... went to several dealers sites... they all said call for price... Edited October 14, 2006 by Gary McClurg Link to comment Share on other sites More sharing options...
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