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July 2017

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Page 27 of 43 26 POST JULY 2017 DISPLAY TECHNOLOGY ost facilities are responding to clients' demands for myriad deliverables with an array of monitors, displays and projection systems, designed to ensure accurate reproduc- tion of the end product across post workflows. Here's a look at how a few houses are addressing these needs. LIGHT IRON At Light Iron's flagship facility in Los Angeles (, discussion of the viewing formats required for a given project happens right up front. "It's part of our agenda at the production meeting; we talk about formats in the beginning stages of a job," says Josh Haynie, Light Iron's VP of US operations. "Is the project episodic for broadcast? Is it episodic for Netflix or Amazon? Theatrical for DCP? For 3D? HDR? Maybe Barco Escape? "Talk of the finished display pops up earlier and earlier," he says. "We also talk about on-set displays for the video village, DIT and cinematogra- pher's tent. Everything onset has to meet industry standards and is calibrated daily. You want to make sure that what people see on their monitors is an accurate representation of where they can go in the cutting room, what the hero display will look like for the VFX vendors, what we'll do in color and finishing. Collaboration is critical, especially with the HDR revolution happening." HDR finishing is the new norm for many Light Iron customers these days. "We're doing HDR for a lot of episodic clients, and we're doing an HDR first pass for some theatrical clients," Haynie re- ports. "The streaming platforms have driven HDR — the format came up pretty quickly. And theat- rical studios are making HDR masters for home viewing. Standardization is happening among the studios, and that's very helpful for all vendors." Light Iron has made "multiple HDR monitor P THE BIG PICTURE MONITORS, DISPLAYS AND PROJECTION SYSTEMS DUKE IT OUT AT POST FACILITIES BY CHRISTINE BUNISH Light Iron demo's DaVinci Resolve on a Sony BVM-X300 monitor at CineGear 2017. Light Iron's Josh Haynie.

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