Issue link: https://digital.copcomm.com/i/246736
special report The InterBee Convention gave pros in the Asian market a chance to see the new DP-V3010 up close. 10 the darkest of shadow areas was also remarkably similar, though the actual black level on the projection appeared slightly washed out compared to the strong, dense blacks seen on the displays. Any concerns from the lack of movement in the first demo footage were squelched at the InterBEE Convention in Tokyo the next morning, when Mr. Komatsu and the lead engineers of the display were happy to switch on some Formula 1 racing footage at Post's request. None of the tearing, streaking, or other motion artifacts that can plague many LCDs were apparent. Motion blur looked completely smooth and natural to the photography. It's simply beautiful to look at. The busy Canon booth at InterBEE showcased a trio of DP-V3010s with identical looking imagery. Mr. Komatsu was proud to say these were straight out of the box, without any additional work to get them to visually match — a testament to Canon's rigorous in-house quality checks for uniformity. While this can help with transparency from one office location to another, and even allow for the sharing of monitor settings throughout a facility, I'm surprised that Canon is currently not planning to involve themselves in the calibration of the displays once they are installed on site? The 30-inch display has an 89 degree viewing angle horizontally as well as vertically offcenter, while still maintaining uniform color. This will come into play during those unannounced visits from directors or VFX supervi- Post • January 2014 sors, as four or five sets of eyes can stare at an artist's desk and each of them will be presented with the same imagery. Canon likes to note that the display could be a space- and money-saver by eliminating a studio's need for a large-screen review theater. While this may exactly what they're creating. Especially when working on darkly-lit plates, adding supersubtle effects like cold breath enhancements requires a display that won't introduce banding at any range of the color space. This removing of any rose-colored glasses opens up communication between artists and streamlines post production, allowing for less time spent on logistics and more time spent on creativity.The Canon DP-V3010 is going to be the monitor that every artist, whether they're working in 2K or 4K, is going to want on their desk. So of course there has to be a catch, right? The price at launch in the first quarter of 2014 will be $40,000. While this puts the DP-V3010 directly in line with the competition from Dolby, it's also nearly double the cost of what a filmmaker would spend on the 4K C500 camera housing to shoot their movie. This pricing strategy will greatly limit its audience to the highest level of productions: more screening rooms, less artist bullpens. After the phenomenal success of the DSLR put high-quality filmmaking within the grasp of the common man, I'm surprised that Canon is not also offering a more affordable alternative as their entry into the display market? Needless to say, I'm anxious to see how the DP-V3010 is received next year, and what Canon has next up their sleeve. The Canon Shimomaruko headquarters in Tokyo. be true in the practical sense of image accuracy, best of luck trying to sell that concept to directors or producers who are used to lounging in posh screening rooms. As a VFX compositing supervisor myself, I've felt the pains of struggling to work on a display that simply can't show the artist www.postmagazine.com Ben Campanaro is an Emmy award-nominated VFX compositing supervisor based in Los Angeles. His list of works include television's Sleepy Hollow and Terra Nova, and the features Spring Breakers and Mission: Impossible 4 — Ghost Protocol. He can be reached by email at: bengraphics@yahoo.com.