The Never Ending Story: Are Apple XDR devices suitable for reference use in colour grading?
This has been burning under my fingernails for a long time: Almost every day the question stumbles in on every colour grading forum: "My video looks different after export." 99 per cent of the cases concern Apple users. Just as often as this question comes up, the explanations are incomplete, incorrect or misleading. No wonder, the topic is complex.
Spyder Checkr Video
Wasn't everything better when video by definition was still in black and white? Since colour was added, it has only become more complicated - but what the heck, there are helpers for that!
ProArt: Big and small and gaming?
Professional monitors cost a lot of money. But what exactly defines "professional" and how close can you get to a real professional monitor with a mid-range panel for prosumers? Let's go poaching in the Asus range!
Zenscreen: Would you like a little more?
No matter how efficiently and disciplined you work: At some point there is always too little space on the desktop. Not to mention your desk. Wouldn't it be great if you could expand it with a USB cable?
4K production – what do you really need?
Review: In DP 02 : 2014, our author Michael Radeck went into the practical test with True 4K.
Datacolor SpyderX in test
Colour correction is playing an increasingly important role in media production, not least because more and more recordings are being made in flat LOG formats to give colour correction more leeway. As a result, the need for calibrated monitoring is increasing, partly already on-set, but at the latest in post-production. If you want to have more control over the deliverable quality, reference displays are indispensable in post-production. Otherwise you are quickly exposed to discussions and uncertainty spreads among everyone involved.
Spectracal Calman 2016
Why calibrate monitors? Our most important tool in the production of media content is the monitor, as a control tool in the first instance of production via the reference monitor in post-production during finishing and as a presentation tool in the final use of the content.
Panasonic Lumix GH5: A personal review
With the GH4, Panasonic has created a truly successful model in the independent film and video sector. Aerial photographers in particular favoured the GH4 because of its form factor and low weight. Even the highest quality cinema and TV feature film productions as well as high-end commercials shot on the ground with RED or Arri were combined with aerial shots from the GH4. Here comes the successor.