So you can consistently deliver at the same quality when it comes to your work as someone who works, creating images for a living and the tools that I’m using are obviously very important. It all starts with capturing the right image, but equally important is how I treat the images in post-production.
Now, when it comes to cameras, I always try to find the right balance between obviously costs size, the speed of sort of workflow, but also something that’s going to give me the most dynamic range, the biggest color range and, if possible, to capture it in Rob because It really comes down to being able to capture as much information as you can, while you’re there on set and the cameras are rolling and, and that moment is happening life right in front of you.
Since you can rewind time, it’s really important to again capture as much information as you can right there on the set and then later on, when you’re in your editing, suite, and you now no longer worried or stressed out by the logistics such as weather. Or you know, if the actors said, I hit the right market things like that, that’s when you can sit there and really tweak the image for as long as you want in post is when you see how important it is to capture the most dynamic range, especially When you’re working with cameras like the aerial X hour or so many that are pushing 15 steps of light or the incredible extended dynamic range that you get with some of the red cameras using HDR X, it’s very important having the right tools in post-production.
So you cannot only manipulate all that data, but also so you can see it whether you’re finishing for broadcast or maybe just a YouTube article and you’re outputting in all those different formats like REC, 2020 or p3. At the end, again, you’re limited by the tools that you’re using – I myself – I couldn’t imagine these days just using any average monitor to finish and judge my work. Asus has really delivered on that end of film production.
There part PA 32. You see display has a hundred color accuracy or close to it in all of those different profiles. It’s also just a nice big 10 bit IPS display and it’s a true HDR 10, with over a billion colors, now to really be able to see and appreciate HDR properly, and you know and see all the details in the shadows or the brightest of brightest pixels. In there and the highlights, you really need a monitor that can display all of that brightness, and this monitor has an incredible 1000 nits of brightness.
It means that, even if I’m working with all the office lights on and the windows open with daylight pouring in, I can still see all of the details, anything in less than that and you’re really just working blind. You have to be able to see what you’ve captured before you can correctly adjust. All of that footage. Another obstacle in today’s film production is the huge amounts of data that we’re working with, especially if you’re shooting in RAW.
You need to be able to move terabytes of data and to do it quickly. Thunderbolt 3 is a huge improvement plus. The other benefit is that these days, it’s not just for caring data, but you can even use it as a display port. I often get asked about color accuracy and how to go about that, so that I know that I’m always seeing the most accurate colors now. Obviously, a very important part of that is how you actually calibrate your monitor these days.
Most monitors come calibrate it in the factory, and this monitor is no exception, but you’d be a fool thinking that this is enough. Every display, including even the ones on your cameras, are going to start to drift over time and the colors are just not going to look right, so you really want to get into a habit of calibrating all of your monitors. I would say every two weeks, or at least once a month: there is a lot of great calibration tools.
These days, they’re, affordable plus aces, makes it even easier to keep their displays calibrated because you can save the actual calibrated color profile right in the internal chip. That’s built into the monitor any display can be calibrated, but in most cases it means that the color profile is saved locally on your PC. Now the second you disconnect your monitor all that color calibration is gone the same if you just simply switch out your monitor connected to another article source or another PC you’re, going to have to again recalibrate it on that new machine with the Asus Pro art monitors.
Internal scaler IC chip, all that calibration data is actually saved in the monitor, which just means that you can easily switch to another PC or article or, for example, with you by accident for magic computer, and you lose all that calibration data. Your monitor still has the calibration baked into it. So, in short, always try to pick a camera. That’s going to let you capture the most dynamic range and colors, and, if possible, do it all in RAW, then make sure that you actually backup all that data, because after all, you know, whatever you have on a little memory card is worth as much as your Whole production and then, finally in post-production, make sure that you keep all of your displays properly calibrated and so that you know that you’re, seeing what you’re actually doing so that you can transform all of that raw data into the images that you want.
Your audience to see anyways once again, my name is Tom. If you guys one more filmmaking, advice, tutorials or phone gear reviews, then as always check out my website at Tom Antos films that come over there, you can also sign up to my newsletter and if you want to support me even more than join me on patreon I’ll see you guys in the next article bye
Videos are truly an awesome way to get the point across. Any type of content from your business is important!