LCD TV as a broadcast monitor?

Hi all,
Was planning on buying a Cinema Display to do a 3 display setup:
1 - Macbook Pro - library/media
2 - Apple Cinema Display - timeline
3 - LCD flatscreen TV - monitor
Is it possible to use my LCD tv as a broadcast monitor. I`m assuming I would need to buy a ``Thunderbolt to HDMI adapter`` and daisy chain from the Cinema Display thunderbolt) to the LCD TV (HDMI).
Thanks

Sure, you can get a miniDisplayport-to-HDMI adapter to daisy-chain off the Cinema Display and it should work just fine.
LCD TV as client monitor.
Client? If these people are paying you money, shouldn't you guarantee how it's going to look? I guess it depends on your approach to your business, but what if the client is looking at the client monitor and asks you to adjust a certain color or brightness? How do you know if you're really giving them what they're asking for?
The issue is not whether you broadcast or upload. It's just that broadcast standards (i.e.REC 709) are also references for people doing quality work on the web.

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Can an LCD TV work as a Broadcast Monitor thru Matrox Mini for Color?

Hey guys,
since the actual Broadcast monitors are so expensive,
will an LCD tv work as a broadcast monitor thru Matrox Mini for Apple Color?
Thanks,
CJ

It's probably better than nothing. Unless it isn't. Depends on the TV. I always think it's good to view your efforts on a regular television, but because they do their own processing in an attempt to "improve" the image, it's best to take the results with a grain of salt...
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Using Mac as a broadcast monitor

I have a unibody macbook pro and am wanting to use it as a broadcast monitor for field production, we are using a panasonic p200 and wanting to know what is the best way to play back with minimum or no lag, i have final cut studio and also adobe on-location cs4, what other methods also is their to get best results, all the est and thanx

have a unibody macbook pro and am wanting to use it as a broadcast monitor for field production..........to get best results
do you want a broadcast monitor, a field monitor or a computer monitor, do want best or poor results, they are all different solutions?
what other methods also is their:
watch a picture on a laptop-dozens of software apps available
1 Quicktime Pro:
2 http://www.boinx.com/boinxtv/overview/
is this a professional best way? NO
what is the best way to play back with minimum or no lag,
you need either a broadcast monitor or a more affordable field monitor, not a computer screen from a laptop
9" LCD
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=sonylmd-9050
17" CRT
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=jvctm-h150cg
Broadcast field monitor:
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=panabt-lh1760we#

Alternative to professional broadcast monitors?

So I'm starting up a business - and don't have a lot of money at this stage for equipment. I'd like to get a monitor that is good for color correction - but broadcast monitors are just out of my price range right now.
Since I'm not doing broadcast work, but assuming I will still be editing high quality work that will go to dvd, are there any good alternatives to professional broadcast monitors that can be used for color-correction.
i've noticed most lcd tv monitors on the market suck for editing....what else is there?
And....can anyone tell me why broadcast monitors are so expensive ....what is it about their technology that is truly superior ???
thanks ....

sure they do, it's the bvm series.
i'm going to take a completely contrarian point of view to everyone's (except steve's) argument and argue in favor of a cheap sony 13 inch wega flat screen tv from best buy.
consumer equipment will reveal flaws faster than the so-called "professional" monitors. i use the term "professional" lightly as any older panasonic crt was a hunk of junk and so are the sony pvm '"n" series of monitors. am i advocating that we all use rca or curtis mathis or zenith tvs? good heavens, no, however, too much is made about the quality of the display around here and not enough stink is made about the quality of measuring tools like scopes being used.
i simply cannot fathom how someone making money will spend many thousands of dollars on a display and then rely on the pathetic software scopes. the only software scope that i would rely upon if i were making money doing this would be the new avid plug-in that videotek (or is it tektronix? i looked just yesterday and can't remember) is now making. i can only hope they build it for fcp as well. but this is just my opinion.
how many of the folks using fcp are currently getting anything on the air? how many are going to a film out or even festival distribution displayed with a projector? now, how many of those folks are reading here and then get pounced upon for not using a "broadcast quality" monitor? how your product is being viewed is how you should look at when color grading but in most instances this is completely impractical and expensive.
my experience with broadcast quality is anything goes. i've shaded my shows to consumer tvs and transmission has never said anything to me. i've shaded my shows to ancient crt's that bounced down the road for the last decade and have never been retubed and need it. i've shaded my shows to the latest and greatest lcd monitors and have left at the end of the day with a splitting headache. the point is, there is no "broadcast monitor" standard (there are however, broadcast transmission standards that in the end, we all have to follow if going on the air) and yes a blue check is nice but there are workarounds and i have to use them. yes, a nice bvm is a joy to work with however i did a show just recently looking at 5 bvm monitors and not one of them looked like the next and i didn't have time to go in and properly calibrate crt bias so i picked the one i liked best and used it.
today i'll do a four camera espn basketball game that goes straight to webcast, ESPN 360. logic dictates that i should shade that show on a computer monitor but i won't be able to, instead i'll use the less than professional crt on this particular "mobile broadcast" truck.
again, these are just my opinions. fire at will.
zeb

Viewing HDV sequence / media on Broadcast Monitor?

Is it / or is it not possible to view a HDV sequence or media on Broadcast Monitor via a Firewire Device such as a HDV camcorder?
If so great, if not, what are my options and how can I achieve this?
VV URGENT
Thanks in advance.

I had the opportunity to play around with a Sony HDV camera and FCP yesterday. I got the HDV camera's LCD to display media playing on the Timeline and in the Viewer [after changing prefs in Audio & Video Settings > Playback Output > DV-PAL]. From there I did get the audio signal to loop from the camera through to the broadcast monitor, but unfortunately not the video signal [as you both have stated].
So basically what you are both saying / and what I seem to have confirmed, is that I can not check my work on a broadcast monitor when using HDV without an I/O card?
For those of us without an I/O card, we still have fields, saturation restrictions, flickering graphics etc etc to check that will not show up on a Digital Cinema Desktop Preview. I just don't understand why we can not preview this prosumer [HDV] format on a broadcast monitor without purchasing an I/O card??
It would be greatly appreciated if you guys could please respond / correct me if I am wrong.
Thanks again for your time.
G5 DP 2GHz / OS X 10.4.2, 1 GB Ram Mac OS X (10.4.2)
G5 DP 2GHz / OS X 10.4.2, 1 GB Ram Mac OS X (10.4.2)
G5 DP 2GHz / OS X 10.4.2, 1 GB Ram Mac OS X (10.4.2)

Any assistance on a professional broadcast monitor

Hi all,
I will use AJA Cona 3G, looking for a professional broadcast monitor under $4000, so i found those:
1- JVC 21" Verite Series DT-V21G11Z LCD Monitor
http://www.bhphotovideo.com/c/product/849456-REG/JVC_DT_V21G11Z_21_Verite_Series_DT_V21G11 Z.html
2- JVC 17" DT-V17G15 Multi-Format HD LCD Monitor
http://www.bhphotovideo.com/c/product/907175-REG/jvc_dt_v17g15z_17_verite_g_series_hd_lcd. html
3- Panasonic 21.5" LCD Studio Monitor
http://www.bhphotovideo.com/c/product/891005-REG/Panasonic_bt_lh2170pj_21_5_LCD_Studio_Mon itor.html
4- Sony PVM-1741 OLED Picture Monitor (17")
http://www.bhphotovideo.com/c/product/766409-REG/Sony_PVM_1741_PVM_1741_OLED_Picture_Monit or.html
I appreciate any suggestions,
thanks,
sherif

Ok, thanks all, I will go for the FSI, they convinced me after contacted them, and below are the results :
ME:
Hi, i am looking for a good monitor
for C.G. (10-bit, playing 1080 50i & 1080 25p),
so would you inform my why should baying your 24" LM-2461W not others like:
- Panasonic BT-LH2550
http://www.panasonic.com/business/provideo/BT-LH2550.asp
- JVC DT-V24G11Z
http://pro.jvc.com/prof/attributes/features.jsp?model_id=MDL102068
- Wohler RMQ-230-3G
http://www.wohler.com/Details.aspx?ItemNumber=RMQ-230-3G
http://www.tvtechnology.com/article/wohler-rmq--g-video-monitor/216882
- 17" TV Logic XVM-175W (true 10-bit)
http://www.abelcine.com/store/TV-Logic-XVM-175W-17-inch-Multi-Format-L
CD-HD-SD-Monitor/
FSI:
In general our monitors are going to offer the best combination of performance, features, and price compared to any competitor. However, in direct comparison with the units you list there are some very clear benefits to the LM-2461W.
1. BTLH-2550. This unit is not 10 bit.its an10 bit processing (just the fact that they can accept a 10 bit signal), but the panel is 8 bit with a color depth of 16.7 Million Colors, not 10 bit at 1.073 Billion Colors. It is also a fairly old panel technology that has other disadvantages like more off-axis color shift than most modern monitors.
2. DT-V24G11Z. Like the Panasonic this too is not a 10 bit monitor. Again, 10 bit processing does not mean it has a 10 bit panel.
3. Wohler. Again, an 8 bit, not 10 bit monitor just like the previous two.
4. XVM-175W. This is a good 10 bit monitor, but it is very expensive for a 17" monitor. If you want a 10 bit 17" unit then our CM-170W might be a good consideration. However, the XVM-175W and LM-2461W are the same price so you can get a 24" unit for the same price as a 17" unit. For use in a studio 17" is going to be very small so the 24" clearly has the advantage here. The XVM-245W is more similar to the our LM-2461W (same size, performance, etc.), but it will cost you more than twice as much as our monitor ($12,000 vs $5,000)
ME:
OK, what about the IKEGAMI:
http://www.bhphotovideo.com/c/product/739821-REG/Ikegami_HLM_2450WB_HLM_2450WB_Multi_Forma t_LCD_Monitor.html
FSI:
We have won many shootouts against this exact unit. Most customers agree that the LM-2461W has better display performance and it certainly has many more features including things like 12 mode scopes, pixel level measurement, and much more. Also, keep in mind that the Ikegami does NOT come with 3Gbps SDI standard. It only comes with HD-SDI. If you want to support more advanced formats like 4:4:4 signals, 1080p50/60, etc. that will not be possible on the Ikegami unless you purchase the optional 3G input board (costs about $1,200), which will make the unit about the same price as the LM-2461W.
I also know that customers have never really been given a clear answer as to whether the unit has an 8 bit or 10 bit panel. If you look at their own specification sheet it appears the panel is actually 8 bit, not 10 bit (http://www.ikegami.com/br/products/hdtv/pdf/hlm2450w.pdf). The unit also clearly lacks support of as many advanced formats as the LM-2461W (e.g. it does not support XYZ, 12 bit, DCI P3, etc.)
For essentially the same price if equipped similarly the LM-2461W offers better performance, more features, and a wider array of signal support. You'll also get fast responses to technical inquiries.
the end
http://www.careydissmore.com/?p=207
thanks all,
Sherif.

DVI to Video adapter CRT Broadcast Monitor? Is there a better option?

I am a freelance motion graphics artist, and I use Final Cut Studio, After Effects, Photoshop, etc.
I need a CRT monitoring solution for checking my color grades, etc.
SD resolution is fine, and i've got my eye on a JVC TMH-150CGU broadcast monitor from B&H. It has an S-Video (Y/C) input.
I'm thinking of using the Apple DVI Video Adapter hook up to it via S-Video.
I have a Pantone Eye-One that I can use to calibrate the monitor.
Would this setup work ok in the above applications? Will it support Digital Cinema Desktop Preview in Final Cut?
I have the 30" Apple display. Will connecting the CRT via DVI steal 256mb of my video memory???? That seems drastic considering it's already driving a 30" display AND running after effects!!
I've thought about FireWire monitoring, but I suspect the FireWire/DV 4:1:1 compression will affect the colors.
I know a CAPTURE CARD would be ideal, with SDI, etc... but I don't really have a need for a full blown capture card at the moment. I don't think use it to it's full potential (ie- to capture). It seems silly spending $$$$ just for a monitoring solution.
Or is a capture card my only option for pro monitoring? If I was to buy one, i'd want a future proof one should I digitize in the future (ie, HD, with analog support), so that leaves either a Blackmagic Intensity Pro (which I believe is only 8 bit) or a BlackMagic Decklink HD Extreme. And then i'd also need the SDI or Component expansion card for the JVC monitor, and before I know it, i've spent over $1000, just for a decent monitoring solution. Ouch.
I strongly considered the Intensity Pro card, because I could monitor SD component, and HDMI HD from the same card. But it put me off when I heard it ws only 8 bit. But it is 4:2:2 though.
What might KILL the Apple DVI adapter option is I have a TON of PAL footage, and I heard the adapter is NTSC only (or a seperate PAL version). So even though the monitor supports both standards, the adapter doesn't. Or so I've heard.
Very confused. Any other options or advice would be greatly appreciated!
Thanks!

Hi,
From the sound of things you have answered your own question.
If you wanted a CRT to just check video playback, safe areas and text legibility then a cheap option of monitoring via a deck or camera would suffice.
You mention a lot of PAL footage just as a FYI this would be 4:2:0 as opposed to 4:1:1 with NTSC under the DV codec.
You don't mention (and I'm sorry if I missed it) what codec you output to. I had always found when working with DV only that a DV monitoring solution was sufficient for most applications.
However as you indicate that colour plays a factor in the equation bite the bullet and get a decent monitoring system from the off. I am using the Decklink Extreme and have found it to be excellent especially in real time conversion and monitoring of HD to SD.
In addition you get the ability to work all the way up to 10bit (drives allowing) and capture over SDI with full deck control.
You could stagger the cost since the BM card will let you monitor composite out in addition to component so the expansion board for the CRT might not be a must have from the get go for you.
Whatever route you go you will want to calibrate the CRT using broadcast colour bars rather than a Pantone system, theres plenty of info on the web regarding this . . and why.
Message was edited by: Steve Mizen

HOW to temporarily use Broadcast monitoring work on snow leopard OS X v10.6.8 for FINAL CUT PRO X

thx,macmacmac give me prompt.He had an interesting trick for getting the OS X Lion 'only' plugin to work on Snow Leopard
To install the plugin on Snow Leopard OS X 10.6.8 you have to temporarily change your system version number to Lion 10.7.2!
1. Go to HD:/System/Library/CoreServices/SystemVersion.plist
2. Copy the file to the Desktop
3. Open the original with a text editor and change the string value of 'ProductVersion' and 'ProductUserVisibleVersion' to '10.7.2'.
4. Save & Overwrite.
I suddenly thought Apple said that Broadcast monitoring work on Lion OS X v10.7.3.I change system version number at once! Changing 10.6.8 snow leopard system version number to Lion 10.7.2!
ok,no problem. Restart final cut pro x,A/V output has appeared in FINAL CUT PRO X preferences and Window Menu
Enjoy it.HAHA!:cheer:

thanks for the tip fan!

No Signal from Timeline to External Broadcast Monitor

I've been running FCP 6.0.1 for about three months with no problems until just recently when I lost timeline signal to my external JVC broadcast monitor. Log and capture work fine and All Frames is selected in the View menu.

#8 External Monitor Viewing.
Shane's Stock Answer #8:
A simple path is mac > firewire > camera or deck > rca cables > tv
Then start up your camera and tv, then open fcp.
Then go View > External video > all frames
VIEW>Video playback should be Apple firewire NTSC (If you are using an NTSC set)
VIEW>Audio playback should be Audio follows Video
Techinially, this should send synched video to your TV
If for some reason you can't view your timeline on your external monitor, there are a few things to try:
1) Make sure that the camera/deck is connected and powered on BEFORE you open FCP.
2) In the Final Cut Pro menu select AUDIO/VIDEO Preferences and make sure your signal is being sent out thru Firewire DV.
3) Go to the menu and select VIEW>EXTERNAL>ALL FRAMES.
4) Click in the % box above the image and select FIT TO WINDOW.
5) Go to VIEW->refresh A/V devices
6) Make sure the Log & Capture window is closed
If you want it to play in both the canvas and the external monitor you need to go to the FINAL CUT PRO menu and select AUDIO/VIDIO settings and make sure MIRROR ON DESKTOP is selected under the PLAYBACK OUTPUT section
Shane

Tear/rupture in viewed frame on broadcast monitor

I'm new to Colour and still finding my way a bit but having completed my first project on it the biggest let down was that I could never preview my grades on my broadcast monitor without a horizontal tear (rupture) appearing across the viewed frame.
I used the cursor keys to scroll through the clips I was trying to grade, and now and again the image would resolve itself into a full frame, but more often than not the top third of the image seemed to relate to a frame two or three frames either side of where the playhead was located. This problem becomes even more pronounced when I'm trying to toggle the grade on and off.
Also, if I try and make use of the 'frame store' function that allows you to composite stored frames over your current grade in order to get maintain consistency across scenes, I end up with a kaleidoscopic effect where up to 4 different images are mashed together in an incomprehensible mess. I've tried adjusting settings in the 'frame store room' - angle and the position of the comp - but it doesn't really help.
I'm outputting at 10bit PAL to my JVC crt broadcast monitor via a Kona 3 and connecting using SDI.
Any help would be great. Thanks

I'm still not sure what your source media codec is, but it sounds as though it isn't HDV.
If there is a mis-match between the source codec and the output that you have requested, there might? be an issue -- and the basic fact that it is an nVidia card, which are infamous for not supporting anything beyond 8-bit, makes me suspicious, as well. What is listed, and as a minimum, may not afford optimum performance, to put it euphemistically.
I'm looking for ways that the media could get jumbled up, and the GPU, doing the lion's share of picture processing, is always the prime suspect. Dust for fingerprints, get a DNA sample.
jPo

Broadcast monitor vs XRite i1?

After NAB I had finally settled on getting a "budget minded" Flanders Scientific monitor for our basic workflow of color correction and grading, etc. Then today I saw a webinar on the XRite i1 Display Pro. Apparently it can now calibrate to Rec 709. Can a $249.00 product do justice? We would, of course, loose the scopes from the Flanders, but I don't really need them since we have scopes in Premiere and are doing web delievery. The appeal is that we are beginning to do some mobile editing (MacBook Pro) along with tradational post in our online suite. Thoughts?

Well essentially the differences that your looking at when including a Colorimeter is color range. What you may want to do is look at the Asus 24 inch PA246Q IPS screen with that Colorimeter since it should have the same color ranges or close color ranges to Broadcast monitors.
Eric
ADK

Editing for air but no broadcast monitor

Hello. I hope you can help! I edited a :30 from footage off a Panasonic P2 camera (data files) that I treated like DVC50 NTSC 720x480 anamorphic. I do not have a broadcast monitor. The producer has one though, in another state. My question is, how to best color correct? Do I just follow the fcp scopes and go with that, or do I export out an fcp file or a QT file of the sequence and send it to the producer, who can then bring that into an fcp project and view it in the broadcast monitor? Or will levels be too far off with that export?
Thanks so much for any light you can shed.

Scopes don't help your eye see the colors...judge how red RED is...or how far you can crush the blacks before people can't see anything, or how washed out the image might be. So unless you have a broadcast monitor, you cannot judge. Sure, your Producer will be able to see...but then will he do the color correction? Or will you try to do some sort of long distance over-the-phone color correction? Not that he will then be able to see what you are doing.
The best you can do is make it legal...whites and blacks hitting within legal limits. You won't have any reasonable way to tell what things look like.
If you are going to be doing this sort of thing for a living...color correcting and outputting the show master...then you need to invest in the proper gear. Or send the project/file out of house to have it color corrected by someone who does.
Shane

External Broadcast Monitor always needed?

After reading, and re-reading many posts here... I fully understand that one would need a broadcast monitor for a true look at the final output. I understand you can't trust your iMac or even the cinema external display...
But...I am just curious.. if my output is going be only the web or on a computer do I really need to spend the $$ to get a broadcast monitor? If it looks good on my iMac screen or external cinema display, is that good enough?
Thanks in advance for your insight and comments.
-Steven

It gets worse. I also have my old trusty G4 running FCP 4.5 on OS 10.3.9. But I did finally sell an even older G4 that was running OS 9 with FCP 2, so there's some progress.
And I hate to admit it, but I do also do some editing on a MacPro with FCP 6. But that's as far as I'll go (for now). Maybe next year I get to FCP 7. But it's a BIG maybe.
-DH

Broadcast monitoring

Hi
I have recently been exploring Premier Pro as a future replacement for FCP. So far I have been very impressed (CS5). I have run into an issue, that I can't seem to wrap my head around. Maybe because of FCP this issue is stumping me. I want to be able to use a JVC broadcast monitor for myself and clients. I am using a Kona card and have downloaded the drivers for the software. All is good when I use one of the presets. What if I want to use a different setting? Maybe I want my sequence to be ProRes, and I want to send it to the broadcast monitor. No luck unless I use a preset which limits my choices to uncompressed and compress I frame.
This also brings up a bigger issue in my head. How does Premier handle the range of codecs. For example in FCP you would set up a sequence with a specific frame size, frame rate and codec using the Kona card functions within FCP. And all of these would be supported on the broadcast monitor. I know I can set up any sequence I choose in Premier but wonder how the video preview happens and why the video won't go to the broadcast monitor.
This is messing with me. Please help, if you have some positive feedback.
Chris Randolph

Hi crandolph1234. Colins overview is a good summation .I also agree with Jims approach to setting things up.
1.UNDER SEQUENCE PRESETS TAB -Select an AJA uncompressed sequence that matches your frame rate
2. UNDER SETTINGS TAB - Select setting to suite your preferences.
a. Preview File Format - 1920 29.97 10 bit uncompressed (rather than MPEG I Frame)
b. Codec - I like Prores. Its for preview only, but is a good image to QC on the reference monitor
3.PLAYBACK SETTINGS BUTTON (or AJA Control Panel - same controls) - With new drivers (10.1 AJA , 9.1 AJA Adobe Plugins) Set quality to Low and check Aggressive Cache if performance is lacking)
When you export your sequence is when you really choose the details of what you want it to be. Its like making XMAS cookies, the batter is whatever you want, but the mold (export) is where the final results are selected. And no I dont make Xmas cookies
I suggest going with a professional codec like Prores or DNxHD as your master file, then make other format choices from that file (like h.264 for web,etc.)
I hope this helps. Good luck!
Tom Daigon
Avid DS / PrP / After Effects Editor
www.hdshotsandcuts.com
Mac Pro 3,1
2 x 3.2 ghz Quad Core Intel Xeon
10.6.8
Nvidia Quadro 4000
24 gigs ram
Kona 3
Maxx Digital / Areca 8tb. raid

Bex Broadcasting Monitoring

Hi,
We are broadcasting No of reports (10+) to external vendors (5000).
My requirement is read broadcast logs, Pull the data and load into a data target in BW to develop a report that shows By report by vendors when an email is successfully sent or failed.
Which tables in BW in need to refer to get this information.
Thanks

Hi,
I think this has already been developed here:
Broadcast Monitoring Tool
Regards,
Michael

LCD TV as a broadcast monitor?

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