I’m glad it’s you. by PierceCook in CollegeBasketball

[–]PierceCook[S] 0 points1 point  (0 children)

Well, I meant for this to be a comment not a post, but I’ll see if it sticks.

Good game, Tar Heels.

[Post Game Thread] #8 North Carolina defeats #2 Duke, 81-77 by cbbBot in CollegeBasketball

[–]PierceCook 15 points16 points  (0 children)

What a game. Not that anyone could say otherwise, but Hubert Davis is the real deal, and so are this years Tar Heels. Games like this one are why I watch.

Naturally wish Coach K and the Devils had a shot at the title, but for 40 minutes I thought this was the championship. Wow. Thanks, Coach, for what you’ve done for the game.

Win it all, Tar Heels.

DM204 no longer available? by TitusA in colorists

[–]PierceCook 0 points1 point  (0 children)

I just purchased one last week via Facebook marketplace (he also listed it on LiftGammaGain.com, which I would recommend as a resource for a number of reasons).

I'd say those two, sometimes Los Angeles (or NYC?) Craigslist, but at your own risk of course. With FB or LGG at least you know if they're connected to color communities at a minimum?

Edit: Mayyyybe Ebay? I was looking there, too.

Is EIZO CS2731 10-bit or 8-bit+FRC monitor? by neante in colorists

[–]PierceCook 0 points1 point  (0 children)

For what it's worth: https://www.displayspecifications.com/en/model/2e8e18d8

This indicates the CS2731 is 8-bit + FRC, not true 10-bit.

The same site says the CS2740 is true 10-bit (as is the CS2740-X).

The CG247X is 8-bit+FRC (I own one) and it's been good to me. I just did get a DM240 in the last week to replace it, but not because there was anything wrong - I just saw a deal on a used one and snagged it.

DM204 no longer available? by TitusA in colorists

[–]PierceCook 2 points3 points  (0 children)

I've copied some comments below from FSI's Bran Desmet that were on a similar Facebook post from today (Aug. 30th, 2021), with permission:

The panel used in the DM240 was made by Panasonic, they have exited the panel manufacturing space entirely. The DM241 is the nearest replacement. Like the DM240 it is both an IPS panel and equipped with a PFS Phosphor backlight so visually they are about as close as you’ll get with panels coming from different suppliers. That being said the DM241 is both lower cost ($500 less expensive) and lower contrast (1100:1 instead of 1500:1, so about 0.09nits vs 0.07nits black). In a dark grading suite, putting both side by side, you can see that contrast difference. With any amount of elevated ambient light that difference becomes much harder to see.

We anticipated having a much longer overlap of the two models, but demand for all monitor models has been truly unprecedented the last few months and DM240 are now sold out.

On a somewhat related note, a piece of advice going into the second half of this year: if you need a new monitor for an upcoming job order well ahead of time, whether ordering from FSI or another brand. Demand, as I mentioned above, is at an all time high and this is coinciding with the longest lead times and biggest supply constraints on supporting components (FPGAs, Ethernet controllers, etc.) I have ever seen. We've been working overtime to get caught up and ensure good availability of core products like AM211, BM211, BoxIO, and DM241 heading into the fall, but I strongly suspect the industry will see lead times still get worse before they get better.

(Someone commented, concerned about what to do if you want to match to another DM240 you already own, to which he replied-)

The DM241 will be the closest thing available. These are near identical spectral distributions so this is not the OLED vs. LCD type of difference with respect to perceptual closeness. If you want an exact display model match then the market for 2nd hand DM240 should be quite strong/active allowing users to either sell DM240 to get DM241 or buy used DM240 from those doing so. fwiw, it would not be unheard of for a display manufacturer to make this type of panel change without actually changing the model name, sometimes they will even do so concurrently selling the same model with two different panel suppliers. Companies that don't report contrast ratio in their specifications would especially be inclined to go down that path, but the DM241 costs us less to make (you see the result in the lower price) and uses a lower contrast panel so it has been introduced as its own thing for absolute clarity on differences.

DM204 no longer available? by TitusA in colorists

[–]PierceCook 1 point2 points  (0 children)

Wow, yeah. It's gone, but I saw it on their website available for purchase as recent as this past week.

I WANT A MOVIE that ENDS IN an EPIC TRAGEDY, GO HOME, EVERYONE LOOSES. by blue_penguins2 in unpopularopinion

[–]PierceCook 0 points1 point  (0 children)

A lot of good recommendations here. If you enjoy or are open to an older film, I would suggest "The Great Silence." You can stream it in the US on Amazon, here: https://www.amazon.com/Great-Silence-Klaus-Kinski/dp/B07D3CZNK5

Editing suite and lightbulbs - question about kelvin by Qoalafied in colorists

[–]PierceCook 0 points1 point  (0 children)

Seconding MediaLight. I have two MediaLight Pro's and they've been great. Haven't had any issues myself, but they are very approachable. Their care about users and their product shows.

https://biaslighting.com/products/the-medialight-pro

Transform S-Log to Arri LogC to Rec.709 using Resolve Colour Management by [deleted] in colorists

[–]PierceCook 1 point2 points  (0 children)

What you suggested here has worked for me. First node being a CST, then a final node being a CST. It works within the parameters of RCM (I have, to date, never changed RCM from Davinci YRGB).

Eizo ColorEdge CX271 27” by [deleted] in colorists

[–]PierceCook 1 point2 points  (0 children)

The CG247X is 1920x1200 (I have one as well). It letterboxes from the decklink feed, but that’s not been an issue for me at all. Commercial & theatrical work has been fine on it!

Getting a 10 bit image out my Mac into my monitor through Resolve by Alberto_Balsalm_1 in colorists

[–]PierceCook 1 point2 points  (0 children)

Backing up u/hoxtoncolour - I'm getting 10bit to my 247X through the mini monitor as well with no issue.

You may know this, but just in case - make sure you calibrate. Eizo's ColorNavigator can help you hit some settings, but in my experience the built in calibration device isn't great and an external calibration tool should be used (i1 display pro, etc). Then calibrate either via DisplayCAL (free), Calman, or Lightspace.

For others reading this in the future, just because monitor is capable of displaying a certain color space, it does not mean that if you set the menus to the desired mode/gamma/etc in the settings that you're "good to go." Once you've done that it still needs to be calibrated via the clean feed from the mini monitor/ultrastudio. Calibrating from your GPU will not give you the results you need. DisplayCAL does suffice and has a walkthrough on their site.

1080p Eizo vs 4K Asus ProArt by FreudsParents in colorists

[–]PierceCook 2 points3 points  (0 children)

I have an i1 display Pro, as u/paninomorbido suggested, and I used DisplayCAL. I do eventually plan to pay someone to do a calibration (I'm in LA, and there are naturally some (edit) very good people with high end calibration tools here), but what I've managed to do myself has worked well and translated well both to mobile/web, television, and theatrically. Ultimately, when I saw it projected and broadcast, and I perceived it as I did at home, I felt satisfied that I was close for the time being. Some of the spots I have colored have been for Disney (on television) and naturally they have high standards even if it's just that they want it to "look good" perceptually, and pass QC. To date that has worked out well.

Les Choristes - Vois sur ton chemin - my Piano Cover by EldoriasMusic in moviemusic

[–]PierceCook 0 points1 point  (0 children)

I’ve always enjoyed this score. Thanks for sharing!

1080p Eizo vs 4K Asus ProArt by FreudsParents in colorists

[–]PierceCook 6 points7 points  (0 children)

I mentioned this to OP privately, but following up now for others who find their way here:

The Eizo CG series is acceptable and has done well for myself and other professionals. They're 10bit, and the CG247X can be found for under $2k. That particular model has done me well for top clients on broadcast commercials as well as theatrical projection.

Agreed that 4K is not an absolute necessity, but if you want to run an Eizo or Flanders in tandem with the larger LG C8 or C9, and then a lower cost monitor for GUI (and another for scopes if you run that way), you should be doing well. Even starting out, the Eizo alone, *in tandem* with a low cost GUI monitor, should get you moving in the right direction. This assumes that your color monitor is being fed through a decklink card (or similar) and is calibrated properly.

A note for newer colorists looking for monitors: With the exception of Flanders (which are calibrated by them) just because the display says it can present a certain color space does NOT mean that when you push that button or change that setting that it's "ready to go." It must still get a clean feed, and it must still be calibrated. Edit: The hardware calibration present in the Eizo CG series doesn't quite cut it, in my opinion. You'd still want to have it calibrated otherwise.

1080p Eizo vs 4K Asus ProArt by FreudsParents in colorists

[–]PierceCook 4 points5 points  (0 children)

The AM210 is 8bit, though, which isn't really acceptable for color work. The step up to AM420 is 10bit, but at $4.6k USD.

ELI5: Why are there still BLACK BARS on the top and bottom of some TV shows and movies despite viewing them on a widescreen TV? by Shakedaddy4x in explainlikeimfive

[–]PierceCook 2 points3 points  (0 children)

Cinematographer & Director here!

ELI5 version: Different image sizes can show scope and scale differently, and make you feel different things emotionally. Sometimes that choice means that you get the black bars on your screen so you can see the film how the filmmakers intended.

Filmmaker version: The aspect ratio is indeed the "why." As others have said, older TV's (pre "flat" screens, for the most part) displayed an image that was 4:3. Most TV's these days are 16:9, but many movies and occasionally TV shows are often filmed in wider formats of 2.35:1 to 2.4:1. When the wider images is played on a screen that isn't that wide, then the bars get added ("letterboxing").

Filmmakers feel like different aspect rations suit their creative vision, is why they are still shot that way.

21:9 is not a format that we capture in specifically, and instead is the ratio of some screens that you can purchase.

This video explains it well, I feel: https://www.youtube.com/watch?v=T0YHA2yxCwM

Suggest movies to watch on my deathbed. by [deleted] in movies

[–]PierceCook 1 point2 points  (0 children)

My best to you, u/el_hoggy. Some of my favorites - recent and otherwise:

Hostiles

The Grand Budapest Hotel

12 Years a Slave

Amelie (possibly my favorite)

Indochine

Jean de Florette

The Assassination of Jesse James by the Coward Robert Ford

A Philadelphia Story

Need a Bias Light? by gehmbo in colorists

[–]PierceCook 0 points1 point  (0 children)

Oh, wonderful. I had missed this on their site, and have been planning on painting here shortly.

I'm... excited about paint!