Uli Plank wrote:Can we just step back a bit and analyse what you are aiming for?
What will be your sources? Strictly BRAW or other codecs too?
What will be your output? Do you deliver to the internet? To TV? To cinema? For events?
Will you have tight deadlines?
Will you do editing and color grading or VFX too?
All of the answers will influence your decisions and the advice you can get here.
BTW, a 32" monitor is pretty large, it depends how close you are sitting to it when working. If you work for clients, you'll need a separate, calibrated monitor. How much that'll be depends on your audience. You can get away with a used HD interface, a decent computer screen and a second-hand probe for a few hundred dollars e.g. if you work for local TV only. Or you may need to spend several ten thousands of dollars for a high-end, calibrated projector if you work for cinema. And it can be everything between depending on your clients needs and expectations.
Thanks for your response.
No clients. No bosses. I'm retired and not interested in working for other people.
NO music videos, no commercials, no weddings, no real-estate videos, no ENG.
I work with local crew people and talent, people I've worked with in the past.
Dramatic narrative features about 75-80 minutes > chamber plays, low-key, minimalist, but pictorial.
Micro-budget cheap, independent, non-Guild.
Blackmagic 6K Pro CineCamera - RAW, Constant bitrate, 8:1, 5:1. Possibly GoPro 10, Mavic2.
Output -- DCP to American Film Market + European Film Market > TV, Internet, home video.
Deadlines -- tightly scheduled prep, principle, post.
Editing, Grading and some little VFX (chroma key) as well.
I need a monitor large enough to read facial expression and emotion when choosing a take.
The monitor will not be less than 32 inches.
I have no schooling in computers and don't know what's capable of what, really. So I've asked.