Issue link: https://digital.copcomm.com/i/851458
www.postmagazine.com 27 POST JULY 2017 DISPLAY TECHNOLOGY purchases," he says, and "theatrical HDR projec- tion is on our road map — it's a big discussion; it looks like we'll have to get there soon." Right now, the company's theaters in LA and New York are equipped with Christie 4K projectors. Light Iron invested in "quite a few" LG 55- and 65-inch OLED HDR panels to use in a number of applications, "from dailies in the field to the cutting room and the finish," Haynie explains. Light Iron also has multiple 30-inch Sony BVM-X300 HDR reference monitors, which he calls, "an absolute must-have for episodic and theatrical mastering." At NAB, Light Iron "looked at everything that's coming out," he reports. "We're pretty excited about some new displays. The larger [HDR] displays are amazing, and we're interested in Sony's 42-inch HDR reference monitor that will be available soon. People have complained that the 30-inch model was too small." He also cites news that some digital cinemas are adopting Samsung's large flat panel screen, "a high- end display that's DCI-compliant. That would be a new area for us to look at for mastering films." Companies have to be nimble enough to adopt whatever displays customers demand for their workflows, he emphasizes. "We have to be ready for the next thing that pops up — any new way of engaging the viewer,' Haynie says. "We have to get educated and understand how to apply the work- flow and deal with all the other deliverables." Even though few theaters offer Barco Escape's immersive screens, Light Iron has already worked on some action films requiring delivery in that for- mat. "We have to master the left, center and right panels using our existing equipment, but need to make sure everything is cut, color matched and lined up so the audience experience is pleasing," Haynie says. "We do a lot of testing of the process- es, then go to a Barco Escape theater to check the final product. "It's a challenging but exciting time in the busi- ness," he adds. NEW WAVE ENTERTAINMENT A movie marketing facility that primarily posts trailers for independent filmmakers and the major studios, Burbank-based New Wave Entertainment (www.nwe.com) offers 4K and HD online, color correction, mixing, standards con- version and transcoding. The company has a diverse mix of displays on hand. Three Avid Media Composer finishing bays feature 31-inch Eizo Color Edge CG318-4K LED backlit IPS monitors. "A monitor is a very tweaky thing," says director of engineering Michael Clow. "You can get into the weeds very quickly when you start talking colorimetry — especially if you're a facility without an engineering department. Eizo made it very simple for us to buy the monitor, set it up, use the default parameter it comes with and self-calibrate it to our needs." Clow recalls when New Wave started looking for 4K monitors. "There were very few that didn't require a second mortgage on your house," he says. "Eizo was one of the first to the market. You could buy their monitor for a reasonable price and actually calibrate it so the blacks were black enough and the color vivid enough. I felt we could trust it for 4K work — and if I had to do it all over, I'd buy the Eizos again." New Wave's contractual clients dictate the standards for its marketing materials and so far, "no one has raised the flag" for HDR, he reports. "When they do, we'll do what needs to be done to please the client." New Wave edits in Avid and Adobe Premier on a variety of monitors, including the Eizo Color Edge CG318-4K (far right).