Production monitor question?

I'm working with a vendor, putting together a post set-up with FCP Studio 2. I told him I needed a production monitor. Originally, he suggested a Panasonic BTLH1700W but then got us a Dynex HD TV off the shelf to save money. Can you really just use an off the shelf TV and get true picture? I'm coming from an analog production environment using professional video monitors and I don't trust this set up.

As the others have said you simply can not use a TV set to do color correction, no more than you can use your computer monitor for coloring. TV sets have all sorts of crazy filters in them. Even once you use Bars to properly setup the TV, you are still only coloring to THAT TV set. Another TV by the same brand will look different.
Your vendor may have thought he's saving money, but he's costing the customer many hours of grief from very angry clients.

Similar Messages

  • Monitor Question: Misleading and Confused

    I'm looking to buy a new HP monitor, I just had a few questions whats the difference between HP 25bw and HP 25xi Monitor?
    I was interested in this monitor for the gloss screen and crystal clear images they can produce. Having read a review on CNET, the reviewer stated "the 27xi has a heavy AG coating" (Anti-Glare coating), why the hell have a gloss screen at all if you're gonna AG coat it? Anyone with this monitor can confirm this?
    Thanks in Advance!

    Hi,
    The following links show the two:
    bw: http://www8.hp.com/us/en/products/monitors/product-detail.html?oid=5348588#!tab=specs
    xi: http://www8.hp.com/au/en/products/monitors/product-detail.html?oid=5374016#!tab=specs
    I don't like glare/gloss screens. AG screens will make my eyes see/watch better. You may perfer gloss screen. Manufacturers have to make products for dozens tastes.
    Regards.
    BH
    **Click the KUDOS thumb up on the left to say 'Thanks'**
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  • Setting up a Production Monitor

    I'm looking to add a production monitor to my FCP setup in addition to two monitors. I have access to a Canon XL1 but don't actually own a camera or deck yet. My question is, how can I have a production monitor hooked up to my computer without a camera or deck involved? Is there a video card that I need to purchase? Am I going about this whole thing incorrectly?
    I'm thinking of getting:
    JVC TMH-150CGU 15-Inch Color Production Monitor with 750 Lines, 16:9 and 4:3 Aspect Switch, NTSC and PAL Systems
    Does anyone have experience with these monitors? Are there any special considerations I'm overlooking?
    I work on short to feature length movies - nothing for broadcast right now but of course I'd like to do things as professionally as possible. I'm learning. Any help is greatly appreciated.

    Just to say that we originally had an Aurora card and had HUGE problems.
    We work in PAL and often in the DV codec but when we monitored in component there were horrible quality issues. The dealer told us that things had been missed in development with the card. (Ouch...)
    Also we had quite a few stability problems and they only went away when we took the card out. Snag was that there was no uninstall programme and it was a major pain to get the Aurora software off our system.
    Now running an AJA Io and everything looks great and our system is as solid as a very solid thing.
    Just done a 10-bit uncompressed project and it looks fantastic.
    As we're filling up our PCI slots with firewire and USB things it's actually quite nice not to use one up with a video card.
    That said, I've an editor friend who uses Decklink and speaks very highly of it so those would be the two choices for me...
    LEE

  • Motion playback on production monitor through AJA Kona LH card looks nasty.

    Okay, so here's the deal.
    We have recently invested in some shiny new things to equip an edit suite - a Kona LH card and a Production Monitor. Along with a Sony HDV/DVCAM VTR. Specs of our set up are listed at the bottom.
    Pretty much all of the work we have done in the past has been non-braodcast - we're looking to improve workflow and quality of final output. We work mainly with Final Cut Pro, but also with Motion.
    We have connected everything and have marvelled at how much of a difference it makes having a proper video preview from Final Cut (v. 6) as opposed to what we had before - firewire to camera to TV... Of course we were expecting this marked improvement.
    We were also expecting the key benefit of a video preview output from Motion.
    Now. We do get a video output through to the production monitor from Motion. But this is where it gets weird.
    When we do a preview of an animation, it looks really shoddy.
    As a test case, let's take a basic text crawl in Motion 3.
    Static graphics look great, but when you play motion graphics, the image quality is really jaggy and nasty. (even at full frame RAM preview, best render settings, full res - all of these options are apparently properly selected).
    So we did some test exports. Usually we would export animations in the Animation Codec, with an alpha if intended for compositing on top of a video track in FCP... we tried a bunch of different formats - animation, photoJpeg, DVCPRO 50, Aja 2Vuy, Uncompressed 10bit...
    All these play from Quicktime on the computer monitor just fine, but when playing from the AJA TV app to the production monitor, again the same problem. And then when you bring them into Final Cut, the same problem, even when you match the sequence settings and field order to the source video ...
    In effect, it seems that anything generated in Motion just doesn't want to look nice on our Production Monitor - even when imported into FCP.
    HOWEVER - if you drop the Motion PROJECT into an FCP timeline, all is fine!
    We know the AJA card and the Monitor are working because of this fact, and because when you generate titles from within FCP itself - the same text scroll, for instance, it looks perfect!
    I have also found when working with old composited animations originating from AE that you can get FCP to pump these through to the production monitor beautifully when working in an uncompressed sequence setting - or in an Animation sequence setting. (For an Animation sequence to go the the production monitor from FCP, the Video Playback option in A/V Settings needs to be set to "AJA Kona 625i25 RGBA" instead of "AJA Kona 625i25 8 bit" or 10 bit).
    The above point could be of relevance...? The only Video Output options from Motion or AE that apply to our setup and monitor are "625i25 RGBA" and "625i25 DV-RGBA" ... are we supposed to have more options?
    In short, we could work around these issues - it just doesn't seem right however that we can't get a decent external preview from Motion. A big reason for upgrading our setup was faithful video previews of animations from these programs...
    We also can't understand why exports from these animation programs can look so poor. I can export a video with a text crawl generated from a DV PAL Final Cut Project with DV Pal compression settings and it looks massively better playing through AJA TV than our test Motion exports.
    It just isn't right.
    Please help. Pretty please.
    For reference, here are the specs of our set up:
    Apple Dual 2.5 GHz PowerPC G5
    4.5 GB DDR SDRAM
    Graphics Card: ATI Radeon 9800 XT
    Equipped with Kona LH Card
    JVC TM-H1750CG Production Monitor fed via SDI (have also tried component, to no avail)
    It just isn't right.
    Please help. Pretty please. Many thanks in advance.
    For reference, here are the specs of our set up:
    Apple Dual 2.5 GHz PowerPC G5
    4.5 GB DDR SDRAM
    Graphics Card: ATI Radeon 9800 XT
    Equipped with Kona LH Card (version 5)
    2 x 23" Apple Cinema Displays
    JVC TM-H1750CG Production Monitor fed via SDI (have also tried component, to no avail)

    Sounds like you are seeing interlace artifacts - in Motion's project properties, have you tried setting the field dominance to None?

  • Any suggestions for what to look for in a good production monitor?

    I'm in the market for a production monitor and I'm looking at B&H's online catalogue now. Any tips on what to look for and if anyone has any recommendations or favorites? Thanks.

    it would help if you could determine a budget and then shop for models within or slightly above that budget.
    basically, some necessary items are switchable aspect ratio, underscan/overscan and then some sort of blue check for proper chroma and phase calibration. some monitors have a gray scale blue check which i think completely blows. it's better to have a monitor with viewable red, blue and green guns as the blue gun is more accurate for calibration than a grayscale blue check feature. also, there are other diagnostic functions that are viewable by using the red or green guns to view color bars.
    some other nice features to have are horizontal/vertical delay, sdi inputs, hd-sdi inputs.
    it's been mentioned in the last larry jordan newsletter than the crt monitor is going the way of the dinosaur and now sony and panasonic are marketing lcd products only. i think this is a very sad trend. as a freelance video operator/camera shader, i am of the opinion that lcd monitors are horrible; they hurt my eyes and the color rendition isn't as accurate as a crt. leitch is now manufacturing an lcd scope which is just terrible to behold. the black area of the vectorscope is a huge, amorphous blob of white light that shows no signal detail whatsoever.
    i don't know what to make of larry's statement as a quick check of the sony business website reveals only bvm crt's in their product lineup, no more pvm series. i haven't looked at the panasonic product catalog yet.
    although the sony pvm L5 that shane mentioned is a quality product, to my eyes, i would get an ikegami monitor but you'll find that the superior imaging of the ikegami also has a superior price point.
    one last point, don't buy an used monitor from ebay, you don't know where it's been or how it's been treated. give jvc monitors a fair shake as well, not a bad product for the price, no matter what their reputation is.
    good luck.

  • DVI to SDI or Component Production Monitor?

    I will be hooking up a new Panasonic HD professional production monitor (BT-LH2600W) to my G5. I only need to monitor from Final Cut Pro's Timeline; no input or output needed (like from a Kona Card).
    Panasonic monitor:
    http://catalog2.panasonic.com/webapp/wcs/stores/servlet/ModelDetail?storeId=1120 1&catalogId=13051&itemId=97137&catGroupId=14625&surfModel=BT-LH2600W&displayTab= R
    The monitor has (2) SDI SD/HD inputs
    S-video input
    YPrPb/RGB input (with input for VD-vertical sensing signal)
    It would be ideal to go to SDI since the monitor senses HD/SD signal and adjusts automatically.
    G-5, 2.5 GHz, 8 GB Ram Mac OS X (10.4.8) Nvidia Geforce 6800, 30" Cinema Display
    Any help out there would be appreciated.

    Welcome to the forums.
    That is a prodution monitor, not a computer monitor, so it won't have DVI inputs.
    I only need to monitor from Final Cut Pro's Timeline; no input or output needed (like from a Kona Card).
    Unfortunately that is what you'll need to get a signal to that monitor. A capture card or some sort of converter box...depending on what you are editing. Either that or a deck...again, depending on what you are editing. A DV deck will pass a signal thru, as will a DVCPRO HD deck. HDV devices will not, for that format you need a capture card or Matrox MXO.
    Shane

  • RE: JVC TMH150CGU 15" Color Production Monitor?

    Greetings:
    Looking for a dent, but mid-priced monitor for editing and color correction. I've read some pretty positive things about the JVC TMH150CGU 15" Color Production Monitor. Anyone using this? Anything else comparable that I should also check out?
    Blessings,
    Craig

    I have this monitor. It has recently been discontinued by JVC. The world is turning HD LCD so you may get stuck with it when you upgrade your techniques or footage. It has very good picture quality and can be calibrated well, but remember that it is a standard definition monitor, so you will not be able to easily or inexpensively monitor 1080p/24fps timelines in FCP. I needed it for that purpose and found I would need to spend a lot more for a Matrox converter to use this monitor for those timelines. Unfortunately, I will be selling mine on ebay and purchasing a low end Sony LCD for canvas external monitoring.

  • Where else can I go for answers to my CS production Premium questions?

    I have not gotten any replies to my questions. Where else can i go to get answers to my Creative Suits Production Premium questions so I can use my program? I keep getting error messages when importing video and cannot even begin.

    That's an invalid resolution. Adobe products only support standardized resolutions as they are commonly used in video production, well, at least in Premiere. This has something to do with hardware acceleration features for realtime playback. You should be able to open the file in After Effects, though. If that still doesn't work, you may have to run it through a conversion tool like Handbrake. To avoid such issues in the future, you should set your preferences on teh phone to a standard resolution like 640x480, 360x480 or 720x1280 pixels. It may look squished on the phone, but will be much better for later video processing. Also use plain MP4/ H.264 files, not MOV if possible.
    Mylenium

  • Any experience with JVC TMH-150CGU Production Monitor?

    I'm trying to find a affordable production monitor and was considering the JVC TMH-150CGU. Has anyone had any experience with unit?

    I'm using a Mac Pro (Intel 2 x 2.66 GHz) with NVidia 7300 and this monitor. I love it. It's amazing. Connected via single link DVI. Beware though, Acer shipped several models with a crippled native resolution through DVI. Resolved by firmware update that service has to provide.
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    http://discussions.apple.com/thread.jspa?threadID=1095405

  • Broadcast/production monitor

    What is the best type of sd/hd broadcast/video production monitor to use with FCP, matrox max capture card, Mac pro to get for under $1700 or is it possible? Thanks

    For that price range, I would probably recommend the HP Dreamcolor.
    Do your homework before purchasing, however; it's a fabulous monitor for the price, but has a lot of requirements in terms of signal input.

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    ... Is this activity related to tracking operations being done by a third party? 
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  • Reference Monitor Question

    I'm in the market for a new TV. My old 19" Toshiba still works, but the quality isn't there anymore. Still good enough though to view video on before burning to DVD.
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    hey there ramon,
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    This may be a silly question but,
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    Thanks

    Now you've done it-- opened a whole can o' worms. Lots to consider:
    Is your monitor truly a monitor, properly calibrated and set up? Will you be looking at the dvd on the same monitor? Are all the sets to be used for playback set up the same?
    The idea of a properly calibrated monitor is that your show should look the same on your monitor as on any other properly calibrated monitor. But that's as far as it goes. There's no accounting for anyone else's tv set. Often manufacturers paint them "hot" and then people crank them even more to overcome less than ideal viewing conditions. So you're doubly hosed from the moment is leaves your hands.
    The best you can do is create a show that looks good on a properly set up system and hope for the best.
    But don't just rely on the monitor-- learn and use the scopes too.
    And then there is the current manufacturers situation with monitors themselves. The industry is in a mess right now, transitioning to lcd-- none of which look really good. I hope Zebulon chimes in here-- a professional engineer who will tell you horror stories if he's in the mood.
    And back to your original concern, do not trust your computer monitor in FCP for accurate color or much of anything else except your edits.

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    Ok, let me see if this helps any.
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