LOS ANGELES—In virtual production, the on-set image is more than a preview. It helps the director, cinematographer, visual effects team and client decide what is working while there is still time to change it. If that image is misleading, the conversation can head in the wrong direction and can create more problems during postproduction.
My work spans virtual production and color, so I want to know that the picture we are evaluating is as close as possible to the one we intend to deliver.
That goal has shaped how we approach monitoring at The Eisley Co. Technology moves quickly, but I try to bring every equipment decision back to a simple question: What would I want to see if I were the client? As a director, seeing a picture on set that is close to the final result gives me confidence in my decisions and frees me to focus on the creative work. Improving color monitoring has therefore been a priority for us.
The Difference is Real
The Flanders Scientific XMP270 has become part of that approach. The 26.5-inch QD-OLED reference monitor fits into our working setup without needing a general-purpose computer display to serve as our color reference. That distinction matters when a team is discussing differences in exposure, contrast and color. I need the image to give us a dependable basis for those conversations.
Virtual production makes those discussions especially important. We may be evaluating live-action elements alongside imagery created for a virtual environment. The picture must make sense as a whole, not just as separate technical components. Deep blacks and clear shadow detail help us assess how elements sit together, while dependable color gives the team a common point of reference. The aim is not to make every on-set decision final. It is to make the decisions we can make there with better information.
I used the XMP270 during production of the upcoming film “Star Wars: Starfighter.” On a production of that scale, many creative and technical disciplines contribute to the image.
A reference monitor cannot make decisions for any of us, but it helps us have a more useful conversation about what we are seeing. When a question comes up, I want to spend the time considering the image itself, rather than debating whether the display is influencing our judgment.
Communicating Our Intent
I also worked on “The Mandalorian and Grogu” as a virtual production supervisor for Eisley.
Projects like these have reinforced how closely production, visual effects and color decisions are connected. The work may pass through many hands before an audience sees it. A trustworthy view of the image during production helps us communicate our intent as that work moves forward. That is valuable whether I am looking at an early visualization, assessing an on-set feed, or discussing a creative direction with colleagues.
At Eisley, we continue to refine the tools and workflows we offer our teams and clients. I do not want someone to approve a look merely because it happens to be flattering on the screen in front of them; I want our monitoring to help us assess the work honestly and identify what needs attention before the next stage. Just as importantly, I want directors and other collaborators to feel comfortable engaging with the picture, rather than treating color as a discussion reserved for specialists.
For me, the value of the XMP270 is ultimately confidence. It supports clearer creative conversations and a stronger connection between what we see during production and the image we are working to deliver. That lets us spend less energy second-guessing the display and more energy making the work the best it can be.
For more information, visit the Flanders Scientific website.
