Is Convergent-Design still in business?

NorBro said:
Although obvious...maybe should add that it's almost impossible to compete with a $499 4K Ninja V. What's the point, really.
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Image quality is one reason. The other is obviously Mitch's point about LUT routing.

What is the point in having a firkin $5K-$100K camera if the monitor can't be trusted. A lot of money get's spent on capture, but then we go spend $500 on a monitor because the $3000 on board monitors are often not great either.
 
John Brawley said:
OLEDS have big problems with burn in.
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In theory, I guess...I haven't looked at the hour meter on my A250 but considering that it's been cooking away for months at a time on show after show for the past 5 years, you'd think with the fixed pattern of framelines and onscreen data that would have left a mark by now. Haven't seen any of that.
 
I just wish CD would come out with a new version. Same software, same features, same everything, just with one of these new 3000nit 1080p LCD panels. Having a daylight viewable panel and 1080p res for critical focus is the only thing it lacks for.

(well, auto-detecting and switching between 24/25/30p and 50/60p modes when the signal changes would be one improvement - it's a really nice, seamless feature in the Atomos recorders)

I'd sacrifice the colour accuracy of the OLED, for daylight visibility happily.

I never really trust on-set monitors anyway. I don't worry too much about the colours and brightness they display, just what their scopes/waveforms/false colour tell me. If the frame's good and the numbers are good. I know I'm good. Critical colour can wait for the grade.
 
Grug said:
I never really trust on-set monitors anyway. I don't worry too much about the colours and brightness they display, just what their scopes/waveforms/false colour tell me. If the frame's good and the numbers are good. I know I'm good. Critical colour can wait for the grade.
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Since most video cameras don't have optical viewfinders, I do like having an accurate monitor or EVF available. Always nice to be able to react a little to the visuals for subtle cues. Zero lag and fairly accurate would be one of the ideal types of screens to have on a shoot.

Looking into the OLED EVF of the Sony Venice is a good feeling. The Arri EVF2 is similarly good. Just looks better than most movie theaters or LG tv’s. You can see a lot of character and detail. It is great.


Wonky Highbrights are great too. just different tools that are both nice to have.

Even in post, we don't fully trust the monitor, and are looking at measuring tools in concert with the visuals on screen. So, I don't think that is an onset practice alone.
 
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