Which monitor will you use for RED post production?

[Tonaci Tran]

Which monitor will you use for RED post production?

[Justin Kirchhoff]

that's a good looking monitor....although, i sense some 2k monitors coming out in the near future.

with imaging getting bigger and bigger, the only thing i can see in the near future is larger formatted monitors.

[Jaime Vallés]

I'll probably use my regular SD 14" Sony CRT for the offline edit. The online edit and final color correcton will be left to some other post house. They'll do it better than me, and with better tools at their disposal.

[Evin Grant]

Apple 30", it's the only thing close enough to 4K to even work.

[Appleton]

I'm thinking of using a 1080p projector - possibly the Sony VW1000. It uses 3 chips, projects at 1080p, has a 15000-1 (they claim) contrast ratio.

Shoot 4K -> convert to 1080p, edit, preview, and possibly finish...

It's a brave new world, indeed.

[Mardi_Gras]

Intend to pretty much stick with both my Apple 30". Can't afford any other gear for now; not with RedOne and its accessories adding up like crazy.

[Ronnie Silos]

My Apple 30 in the middle, 2 smaller ones on each side.

[Simon Blackledge]

Will you be connecting the ACD 30" with an ecinema EDP100? or striaght in ?

[_BK]

Ive used the 24 and 30 Apple LCDs and a couple professional Sony 24 LCDs in the past. Right now Im using (2) 24 Eizo ColorEdge monitors for compositing and grading. They are hands down the most accurate color for the money.... 1/4 the price of the professional Sony and JVC models.

[MikeCurtis]

Short answer: my JVC DTV-1910CG HD CRT for color, and my Apple 23 or Dell 24" monitors for pixel detail.

Longer answer: I've got a Kona3 and a BlackMagic Multibridge in the studio already - so I can (machine reconfig depending) show 2K on an Apple 30" (oops - if I had one, only have 23's) or run a true 2K out to HD-SDI & analog component scaled & cropped.

As an interim solution, I could use BOTH - use Kona3 for HD-SDI and analog HD component out to my 19" JVC HD CRT, and then run HD-SDI to the Multibridge Extreme in standalone mode to use the DVI out to run it to a 1920x1200 display. Not 4K, but 2K.

Let's get real - 4K projection only exists at the VERY highest end of the price spectrum, and will for some time yet.

Master for what you need. Honestly, I think this entire category should simply be called "Workflow" instead of "4K workflow," because at present an incredibly small amount of work actually gets mastered at 4K and shown at 4K.

If folks can make a 4:4:4 HDCAM SR tape master, that's pretty damn good.

Just ruminating, it'd be interesting to shoot 4K and make a traditional anamorphic 2K file - 2048x1556 - and do your CC and other work with that pipeline for filmout projects. I'm sure that's easily enough done in Redcine.

Then cook proxies at SD/HD compressed for editorial.

In a face to face conversation, someone was complaining about the time it would take to run Redcine and make offline and online versions.

My response - well, yeah - it ain't realtime tape ingest, but then again, think of it as your telecine that costs $2K to own (my laptop) and nobody has to drive across to town to drop off and fetch...dailies are pretty quick!

I'm already mentally doodling up designs in my head for an Intel Mac Mini farm for Redcine processing, esp. now that they have GigE networking...

-mike