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Here's a product overview of an affordable 10 bit monitor from OSEE that's part of a lot of conversations lately. OSEE is a leading manufacturer of professional broadcast equipment in China since its foundation in 2001, and is just starting to offer their products here in the USA. The OSEE LCM156 is a 15.6" has been a favorite tool of mine lately when working on projects where it can be beneficial to share the feed from your cameras.

Another added benefit not always found in monitors at this price is the ability to add a LUT to the LCM156. By displaying a LUT on your monitor, your clients can see the display with what your footage would normally look like once you've colored it - even though your camera is shooting in a flat LOG (c-log, s-slog, v-log, BMD Film, etc) profile. The OSEE LCM156 is not only great to work with on set for monitoring, but every display from OSEE is carefully color calibrated, which is also great for Colorists and Editors looking for a nice 10 bit system.

Having a display like the 15.6" OSEE LCM1546 is also very handy when you're working with a small crew or even by yourself. I often turn the monitor around so that I can see exactly what the camera sees while adjusting lighting or making sure boom poles and light stands aren't in the shot. Without a decent sized monitor, you would have to walk back to the camera to check every little change you make which adds up to a lot of time walking back and forth.

You can get more information about OSEE monitors by visiting their website at http://OSEEDirect.com, but at the time of this article you can get a very nice discount by using on of our Exclusive Deals Coupon Codes.

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OSEE LCM156 Description
The LCM156 15.6" Full HD Display is an economical solution for Film and Broadcast applications with an impressive and powerful feature set. With true 10 bit (1.07 billion colors) color depth an RGB Backlit screen and advanced IP engine exceed the performance and quality of many competing products at a price meant to make this model available to every user. Producers, Directors, Editors, Colorists, Lighting Directors, and DPs will discover the LCM156 to be a production tool that provides true reproduction of their artistic efforts by effortlessly adding a 3D LUT.

Broadcasters, OB Vans, and Staging Companies will find the LCM156 to exceed their expectations in a rack mount monitor that can significantly reduce their budget while enhancing the confidence of their production efforts.

Learn More - Exclusive Cheesycam Discount Code on the LCM156 and LCM156 Field Kits

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My first time out throwing the Sony A7s into Picture Profile 7 (PP7) SLOG which shoots crazy flat and has a minimum ISO of 3200. Keep in mind most people hesitate to use ISO 1600 on the Panasonic GH4 and here on the A7s SLOG your minimum ISO is 3200.

Outdoors with bright light pretty much everything will be washed out unless you can add an ND filter (I did not bring one), stop down the aperture, or increase your shutter speed. Indoors under very dim lighting it's pretty amazing. The tricky part though will be your post workflow which I think I failed pretty miserably at.

In the video above i'm just using what FCPX offers, but coloring the SLOG footage is not as straightforward as I thought. I'll have to find some better tools, and I hear many rely on plugins like FilmConvert. I'll have to keep experimenting and practicing.

As far as the Metbones Canon EF Mark IV adapter that I used to pair my Sigma 18-35mm (in crop mode) I had all types of issues. Maybe I need a firmware upgrade on the Metabones but the entire day was pretty frustrating. The recordings would stop every few seconds especially once focus peaking or zebras would kick in. Without being able to use Zebras or Focus Peaking (because of the adapter) I think I failed at getting decent focus on many of my shots. Until this adapter is a little more stable, i'm hesitant to use it on a project. I think I may just have to stick to Sony Lenses.

Sony a7s metabones canon ef adapter
find-price-button Metabones Canon EF Lens to Sony NEX Camera Lens Mount Adapter Mark IV

I can tell battery life is going to be an issue so i'll have to look into external power. The only reason I was able to get through the day is because the Metabones adapter kept failing and I had to continuously shut down the camera. So far the images from the camera seem great if I can just figure out a better workflow or tool for grading. I can't wait to try the 4K via HDMI out with an Atomos Shogun recorder, but the next time out i'll have to bring an ND filter and perhaps only use Sony Lenses.

sony a7s mirrorless camera
find-price-button Sony A7s Mirrorless Digital Camera