by Sergio Cremasco, colourist and DIT
It is not often that one has the chance to work with a tool capable of changing the way we look at images. When Adcom, in collaboration with EIZO Italia, offered me the opportunity to test the new ColorEdge Prominence CG1 monitor, I seized it immediately and decided to put it to the test straight away in a real working context.
The opportunity came during the camera tests with the ARRI Mini LF and the photographic trials for Tartufferies, the Italian-Slovenian film by Igor & Irena Sterk, with cinematography by Stefano Paradiso of Collettivo Chiaroscuro.
A soundstage, meticulously crafted sets, a range of lenses – from Zeiss Super Speeds to the wonderfully characterful vintage Optons – and a crew fully immersed in preparations. It was the perfect environment in which to understand whether this monitor could truly enhance the work.
The first impression was one of naturalness. Not a monitor that imposes its own character, but one that becomes immediately functional. Within minutes it was ready to use, with no complications and no technical barriers – simply the possibility to look and to understand.
With the ARRI Mini LF I knew I had a great deal of dynamic range at my disposal, but the real surprise was discovering how the Prominence was able to reproduce it without compromise. The highlights were clean and readable, the shadows full of detail, with no areas lost or crushed. It is in moments like these that you realise how valuable such a tool can be: it allows you to see what is truly inside the image, even before it reaches post-production.
During long days full of changes, the monitor never showed the slightest sign of uncertainty. The image remained consistently stable and reliable. The colours — believable and vibrant — never appeared artificial. Looking at the screen, I had the sensation of observing the scene directly, with a depth that truly allows you to understand what you are telling.
The greatest value, however, emerged in the dialogue with the crew. Together with Stefano Paradiso CCS and the directors, we found ourselves looking at solid images, capable of accurately reflecting what we would later find in the files. This helped us make concrete decisions: from the choice of lenses — in the end we adopted the Optons, which were magnificent — to the balancing of the sets, all the way through to costumes. But above all, it allowed us to build a shared language: the DoP with his sensitivity to light, myself with my colourist’s eye, and the directors with their narrative vision. By looking at the same reference, our perspectives aligned, and the creative flow became more fluid.
All of this also has an impact on the production side. A monitor this reliable means fewer surprises and fewer revisions: the material discussed and selected on set is the same you will find in grading and in projection. This translates into a
After these days of testing, I am left with a clear conviction: the Prominence CG1 is not just a monitor. It is a work companion, a tool that supports directors, cinematographers and colourists with simplicity and clarity — one that does not merely display images, but helps you build them together.
Stefano Paradiso: ‘The tests with Sergio were essential in establishing the look of the film. The monitor’s fidelity reproduced perfectly both the high quality of the ARRI Mini LF and the unmistakable texture of the vintage Opton Oberkochen 1:2 lenses.’ ‘The film began in the soundstage, where we were able to work on the textures of the set design, on the chromatic choices for the costumes, and on the overall atmosphere. The most wonderful surprise came during the large-screen projection, where we found exactly what we had seen on the monitor.’ ‘Once the main LUT had been created, I was able to work confidently on the rest of the film, which I am now completing.’
Link to the technical interview with Sergio Cremasco (Sergio supervised the DIT workstation at the Route 65 event).
https://www.eizo.it/case-study/foto-video-grafica/sergio-cremasco
Film Tartufferies — Slovenia, Italy, Croatia
Directed by: Igor and Irena Sterk
1st AC: Ksaver Šinkar, Mihajlo Dobrić
Gaffer: Vid Uršič
Key Grip: Matej Nikolavčić
Colourist and DIT: Sergio Cremasco
