Professional Monitoring

I use Blackmagic I/O on my mac and if I run a blackmagic preset timeline in Prem CS5 the performance of Prem is dramatically reduced as opposed to a Prem software only preset. I have read on the cow the reasons behind this and understand them. My question is this... how do you utilise the full benefits of Prem in the professional world if you can't monitor it easily.
Things I have tried:
I can set up an adobe sequence preset that is nice and quick and then put that sequence into a Blackmagic timeline to see it's final output but working like this is not very good when clients are sitting with me while grading. A bug also appeared doing this... after rendering the original sequence I put it into a blackmagic sequence and it wouldn't play and there was no indication that it needs rendering until I scaled it a little bit, then it rendered and played ok.
I have a good pro HD monitor that can actually take a feed straight out of my graphics card but this then makes it impossible to have a dual display for the gui. Video running on my external monitor also slightly stutters inconsistently i.e. not a field issue etc
I have also had problems with selecting the "2nd monitor" for monitoring as the option to select it is buggy. By this I mean it sometimes is not there to even select. After closing and reopening I can sometimes get it to reappear.
Is this just a Blackmagic thing or is this the standard? If anyone could provide a pro monitoring solution when using Premiere that would be great.
I must stress that the performance of Premiere is marginally quicker than FCP when using my I/O card so by migrating to Premiere is not a negative as there are more advantages with Adobe's workflows, I just want to get a good graphics card and extra RAM so I can get that Mercury Engine rocking but I'll need to get a decent monitoring workflow before I do it.
Thanks in advance

The trouble with your set-up shooternz is exactly as the OP did not want - you have sacrificed a monitor from a dual rig.
I new that when I posted and here is what I was responding to, from the OP
My question is this... how do you utilise the full benefits of Prem in the professional world if you can't monitor it easily.
There seems to be a line of thought running here ... for it to be called "professional external monitoring " is that one MUST have 3 monitors!
Thats rubbish and makes no sense. Does make the edit suite look seriously cool I guess.
I deliberately "sacrificed" a 2nd GUI monitor to obtain an easy professional monitor set up. That is what I have done.
In the process I used a larger single monitor for application GUI and and a superb professional level monitor for full screen monitoring ( as I said before - this loops to a client monitor as well).
My setup has the bonus of being ergonomically superior to the 2 monitor set up. eg. less mouse / hand / arm movement, less head movement.
FWIW: I have been working with other editors and other high end post production facilities lately.
The FCP editors were using single monitors and one external. (ie a Laptop and and external via a box)
The Flame suites (3) were using single monitors for application GUI and one external.... plus client monitors ( I noted that all the Barco ref CRTs were not even turned on) .
IMHO...monitoring HD via a F/W device is very problematical in PPRO and not worth considering as a professional option. Maybe o.k for SD

Similar Messages

Using Professional Monitors (Audio) with a 24" iMac

I would like to use a pair of high quality professional audio monitors with my iMac for listening to music at my office. I'm wondering if the analog audio output from the iMac is up to the task or if I should find some way to use the 5.1 DTS digital output and convert that signal to standard audio 2-channel SPDIF (I have a DA converter I could use) before sending the signal to the monitors.
Any advice?

Thanks for the information. One concern I have is that the studio audio monitors I will be using, which are active, are designed to receive a professional balanced +4 dBu line level signal. I doubt the analog output of the iMac is at that level. It is certainly not a balanced signal. Hence, I fear I may experience a signal to noise ratio that is not quite optimum. I can certainly give it a try, given that it will only require some cable adaptors and patching.
I am interested in the digital output of the iMac. I do not understand what Apple means when it states that the Toslink digital output is 5.1 DTS using SPDIF. To my understanding, SPDIF is as 2 channel format, capable of a variety of bit depth/sample rate settings (ranging between 16 bit/44.1 Hz to 24 bit/96k Hz) and is essentially an unbalanced version of the balanced AES3 (AES/EBU) format.
I have a rather nice Lucid DA 2496 digital to analog converter that accepts the standard 2 channel SPDIF and outputs a healthy +4 dBu balanced analog signal - which is exactly what my Quested F11 active audio monitors expect.
Any advive on these issues?

Professional monitor a neccesity ? if so, what do you use ?

As a beginner , i've just learnt that what i see on my computer monitor is no indication of how it may look on a TV screen . If i wish to make a commercial quality DVD , i gather that a professional video monitor is neccesary .Have i understood correctly ?
What would be a least expensive monitor to do the job ?
When using such a monitor does it mean that the content shown would be the acceptable broadcast quality ?
Is it relatively simple to calibate these monitors ?
Does this ensure that the film will not appear over or underexposed when viewed on different TV sets and that the colours will be fairly as i see them on the monitor ?
Would such a monitor play the audio as well ?
Any imput is most appreciated ! Thankyou

Morghana
you have some very good advice here, but some of Steve's comments worry me a lot.
These are important issues you should understand correctly-sorry for the lengthy reply:
I gather that a professional video monitor is necessary
- definitely
What would be a least expensive monitor to do the job ?
second hand is a great idea, but be careful what you buy and only from a well respected dealer
grade 1:
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=sonybvm-l230
preview LCD:
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=jvcdt-v17l2d
preview CRT:
http://www.creativevideo.co.uk/public/viewitem_cat.php?catalogue_number=jvctm-h1750cg
When using such a monitor does it mean that the content shown would be the acceptable broadcast quality ?
- No.
Only if the video was exposed correctly, free from errors and post processing was made to broadcast spec. Bad video on a Grade 1 monitor is still bad video. A video monitor only tells part of the story, it must be used with a waveform monitor, a vectorscope, plenty of skill.
is it relatively simple to calibrate these monitors ?
- No!
Many people confuse calibration with daily operational set up. The link to videouniversity uses the term 'properly adjusted video monitor' it does not explain calibration.
It is very difficult to calibrate a broadcast monitor. This is not a TV set, it is a precision piece of engineering. Calibration is performed by a trained broadcast engineer using specialist test and measurement equipment with a lot of skill. If the monitor displays cross curves or the drive is set wrong, no amount of adjusting brightness will magically calibrate the monitor.
*Daily operational set up* is relatively easy - it uses test signals such as colour bars to adjust the video, gain and saturation of the picture.
Does this ensure that the film will not appear over or underexposed when viewed on different TV sets the colours will be fairly as i see them on the monitor ?
- No
If it is the wrong exposure which is a camera issue, you can't get good pictures, some post processing can help a lot to improve bad images but they will not be the quality they should be.
Every TV will be adjusted differently by each user and will look good, bad or awful as appropriate.
The idea of monitoring is to get the best picture you can with the signal you have and what it looks like when you perform post processing ie changing levels or colour correction, it is not to degrade the picture quality so it can fall in line with domestic equipment.
Would such a monitor play the audio as well ?
- you must use separate professional sound monitoring, a powered speaker or separate amplifier and speakers. Some portable pro colour monitors do have cheep and nasty inbuilt sound cards, but this is strictly for temporary sound tests, not for professional sound monitoring.
http://www.canford.co.uk/ProductResources/ig/3127.pdf
http://www.canford.co.uk/ProductResources/ig/5360.pdf
http://www.canford.co.uk/ProductResources/ig/3695.pdf
http://www.canford.co.uk/ProductResources/ig/3121.pdf
Regards
G

Connect a Professional Monitor to iMac

I am color correcting a movie I made and I need to connect a Professional CRT Monitor to my iMac. How do I do this? Most CRT Monitors connect via BNC cables. Is there a way to connect to my Mac with a converter? If not what other connections do I need to look for? I work at a TV station and I can borrow just about any monitor imaginable. But the CRT ones are sitting around.
Thanks,
cja

The +iMac (Flat Panel)+ 700/800MHz can only output VGA (15pin D-Sub). The +iMac (Flat Panel)+ 1.0GHz/1.25GHz can output either VGA or S-Video/Composite Video. All of which require a $19 MiniVGA adaptor from the AppleStore. Without a firmware hack the +iMac (Flat Panel)+ can only mirror the internal display exactly so you don't gain much advantage in connecting a second display. The firmware hack doesn't work on the 15" models.
As well as the Apple MiniVGA to VGA adaptor you'll need a VGA to BNC cable like this:
http://www.cablesnmor.com/vga-to-5-bnc-cable.html
mrtotes

Professional Monitor Opinion

Preface: I realize I can post this in the "Apple Displays" section. However, I want opinions from people running the same programs as I am to answer this, not John Doe running iMovie on an iMac.
Here's the question: I am getting a MacPro, do I get 2 23" screens or 1 30"? (2 30" monitors is not an option because of cost and desk space)
I work in Final Cut, Motion, Soundtrack Pro and DVD Studio everyday. I am using Shake more often now as well and think it might be nice to have 2 23's, primarily for Shake. However, 1 30" provides plenty of real estate for most applications.
Has anybody noticed a difference running Motion on 2 LCD's as opposed to 1 (obviously conditioned by your graphics card)?
What do ya'll use now? Or wish you had now?
Any posts about your current setup and problems or payoffs is greatly appreciated.

Despite the gigantitude and most supreme excellence of a 30" display, I don't think it's the right call. Obviously a dual 30" setup would be great, but that's more than the cost of the computer right there for the monitors, and could take up too much desk real estate. A dual 23" setup will be more functional. Two monitors leads to a natural layout of Finder on one monitor, apps on the other. Or when in FCP or other media apps, Browser/Asset lists on the left, Viewer, Canvas and Timeline/Media Workspace on the right. Tasks divide up better and window arrangements are more logical on two monitors than one.

Cisco Configuration Professional - Monitor - Traffic Status - Application traffic view

Installed the Latest version of CCP. Noticed that it use Internet Explorer as the default browser.
Current issue - Monitor - Traffic Status - Application traffic view show a window that is to large for my current screen,
I've tried several options to make it more viewable, but no luck.
Screenshot, Explaining the issue - Notice the difficulty to view the graphs
Any advice will be appreciated.
Philip

I've manage to fix it by changing the zoom on Internet Explorer

Re: Professional Monitoring

Hi All...
I'm currently building a 64bit new system to accomodate CS5 (to accomodate the new Panny AF100)
Fairly robust with a GTX4700 card... after considering a BlackMagic solution to monitoring, I am thinking that I will just use the outputs from the 4700 or perhaps a 2nd card.
My Question is this: The 4700 has two DVI outs and one HDMI... Can I run the two "Premier" monitors from the DVI and then run the "Program" monitor from the HDMI? and part two might be... If I am running a 2nd graphics card just to use the "Program" monitor, could I get away with a lesser card? if so, how much lesser... 2400? or non Cuda?
Thanks so much in advance for any input... I've been asking about this issue on the DVXuser forum without much help.
My parts arrived last week (case, processors, RAM, motherboard etc...) so we are doing the build as we speak.
(camera to arrive at the end of the month....!)

Yes, of course... "MPE"! Hopefully I will have enough horsepower and RAM to play SD through the firewire to monitor without using the MPE... Since I haven't gotten the build completed and therefore haven't booted CS5 up yet, can you tell me where the MPE would be enabled or disabled?... or is it automatic depending on the presence of a compatible graphics card.
In addition to building the new box... I'm turning my former workstation into a backup machine (twin 3.2 xeon 5years old but still able to go 64bit processors)... It won't be as fast as the new one, but just in case, I'll still have a lifeboat to make a deadline should things go south with the new box. The backup machine is getting a GT 240 1GB 128-bit DDR5 graphics card whereas the new box is getting a GTX 470. There is an interesting study on unlocking the "MPE" by Studio 1 productions where they tested different cards and came up with comparable results regardless of model... the main advantageseems to be the DDR5 Ram as opposed to DDR4
Thanks again for taking the time to respond.
Best Regards
Dale

Professional Calibration for the Powerbook Pro with LED Monitor

This is what I have discovered: The new LED monitor/screen is a better technology for graphics pros because it's brighter, doesn't need to warm up like CRT and LCD, and it's more efficient. I have also discovered that the current Powerbook Pro with LED is not possible to calibrate with a spyder-type device because the computer itself doesn't allow the user to control overall R G and B levels at all...so as to achieve a prcise initial white point setup. Once RGB levels are balanced, only then can a spyder with it's assoc software continue it's recordings with precision. Other problems exist: Apparently the graphics cards in the Powerbook Pro (I have the newest machine, bought Nov 2008, with LED screen) are not able to permit any software (like Monaco Optix) from adjusting the brightness or color levels. As well, to my knowledge, there are not currently any spyders with software which offers LED as an option initially. I tried setting it to LED and LCD with my LED monitor, just to see the difference....and there was a huge one...so it's futile even to use the spyder if the software hasn't been developed with the LED screens in mind.
*What I did was this: I calibrated my LaCie electronBlueIV 22" professional monitor with the sypder...using Monaco Optix and it's XR spyder. Once that was established, I opened a photoshop sample image which has a blue sky, green pine trees, green/yellow grass, a red boat and some white snowcapped peaks. Made a duplicate of it....and placed one copy on the LaCie and the other on my powerbook's monitor just below (I'm running 2 monitors at the same time). Then I went through the "professional" mode of Apple's calibrator. Unfortunately it's not an exact science as one might think. No, you can't work it back and forth until the colors match because of certain ways in which Apple has made their calibrator function. For example, you only set the degrees kelvin at the end...which totally changes all the color levels you have done up until that point....it's complicated to explain, but if you go through it once, you will understand what I'm talking about. Anyhow, so what I did was go through it all the way.....then right before saving the profile....I would go back again (you can go backwards and forwards and it keeps the adjustments you've made already...luckily) and tweak these various adjustments...all the while...*keeping an eye on my 2 images...trying to nudge my powerbook colors/brightness/contrast as close as possible to my calibrated LaCie. Finally, I used the final adjustment (D50/5500/D65 etc....) to put some more warmth into the powerbook's monitor which seems to be much too cold if you only use the calibrator and have no other monitor for reference. I set mine around 5,200......when normally I would be at 5,500 with any other monitor.
It seems I did get my LED monitor pretty close to the values of my calibrated LaCie....as close as I could visually...considering, to my knowledge, there is no current device/software that will calibrate this LED monitor. We're waiting!!
*Just a friendly note to Apple*
Dear Apple,
For years you are aware that it is the creative professionals (photographers, graphic designers, visual artists, printers, architects, etc...) who have been the loyal backbone of your small market share. We have been the ones investing and reinvesting in Apple computers and peripherals since the beginning...before the ipod and the iphone when all of the other yahoos jumped onboard. Also please understand...we love the new generation of powerbooks but we're tired of having to drag around an extra monitor to insure correct colors for printing/color-matching. I'm a professional photographer who is always traveling internationally...and away from my calibrated monitor in my office. Yet, many times I have to retouch on the go and get the images to my clients..and it's just not possible to work on a calibrated monitor at these moments. Yet my work is precise work and the color values are critical to my clients in the world of fashion and beauty.
Realizing this point.....knowing your core clients are concerned with critical color values....why is it that you continue to create portables with absolutely no precise color controls?!!!!!!!! Would it be so difficult to add a utility which allows the user to digitally control RGB levels, contrast, and brightness (withe their associated numeric levels, (for example: brightness=78.3%.) As well, your own calibration assistant..."professional" mode??? HARDLY. Why not build onto this model with another mode...let's call it "super professional" mode (lol) which allows us to access overall RG&B....as well as brightness and even contrast???
That's what I know at this stage. If anyone has any advice which adds to what I have said, or maybe someone can educate me with a more accurate way to calibrate my monitor....I'm all ears...and I'm sure I'm not alone in this quagmire.
S,
Lawrence

I've had the same concerns about the lack of any monitor controls (unless there's something I'm missing), but afraid I don't have any answers myself yet. Just wanted to ask do you mean "Powerbook Pro" or are you talking about a MacbookPro?

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

How to simulate windows pc monitors using a mac cinema display?

I occassionally have to produce jpegs to be posted on photographer's websites. These are high-end fashion images and the photographers are really picky about making them look good online with accurate hues, saturation, etc.
On my old iMac I used to 'preview' how they would look on a windows pc by simply changing my display profile to 'Generic Monitor' under system preferences. This worked pretty good and gave me results that matched the windows machines I have in my studio. However I just bought a Mac Pro with a 23" cinema display and for some reason this option is no longer availble, the closest thing in the Displays panel is now 'Generic RGB Profile' and testing this by comparing jpegs on my cinema display to those viewed on a windows laptop on the same desk I can see that this profile does not seem to come anywhere nearly as close to matching the contrast and saturation of crappy pc monitors.
Any one else had this problem? When I call apple tech support they seem very vague about what these profiles are actually meant to represent and why the very useful Generic Monitor profile is no longer present ("that monitor doesn't come with that profile, it's a professional monitor" one tech told me, obviously not understanding what I'm trying to do). This is kind of disappointing given that I've just spent over $6,000 on hardware that doesn't perform as well in this respect as my old iMac did.
Anyone know of a simple fix or somewhere I can download a profile that will work with my cinema display and mac pro? Any thoughts would be much appreciated.
PS - I am not very technical so I don't know if these profiles are in some ways connected with the graphic card, my mac pro has an ATI Radeon 2600XT and is running Leopard 10.5.1.
Thanks!

No, the saturation can't be adjusted during calibration. But the Cinema Display desn't have especially saturated colours. It matches the sRGB standard of most PC displays.
Cinema Displays are normal screens. Macs look different because the operating system adjusts the gamma to 1.8. There is nothing special about the monitor itself.
On the other hand, it will always look more saturated than a laptop screen. PC or Mac ...

Help with monitor calibration - simulating NTSC on computer monitor

I know the proper way to monitor video is using an external NTSC production monitor. Since I don't have one I'm wondering how I can get the closest to simulating an NTSC monitor on my Apple Cinema Display. I have made a monitor calibration using gamma 1.4 that seems pretty good except the shadow areas are too dark. If I can resist the temptation to lighten the dark areas, based on what I see on my computer monitor, my results look pretty good on a TV played from a DVD. If there was some way I could set up my Cinema Display to be closer to an NTSC monitor it would help me a lot. Any ideas?
As a related question: If my video project is not destined for TV but played on a laptop and shown on a screen using a projector maybe I can use my computer monitor as more of a guide to what it will look like on screen.
Another related question: How do the modern flat screen TVs relate to the older CRT variety in terms of calibration. Do the new flat screens still use the same NTSC calibration? The flat screens seem more like computer monitors to me.

If there was some way I could set up my Cinema Display to be closer to an NTSC monitor it would help me a lot. Any ideas?
The Matrox MXO: http://www.matrox.com/video/en/products/mxo/
If my video project is not destined for TV but played on a laptop and shown on a screen using a projector maybe I can use my computer monitor as more of a guide to what it will look like on screen.
If the program won't be viewed on TV, using the computer monitor should be fine ... but keep in mind that Windows system's use a different gamma.
How do the modern flat screen TVs relate to the older CRT variety in terms of calibration. Do the new flat screens still use the same NTSC calibration? The flat screens seem more like computer monitors to me.
They aren't. They are designed to reproduce the NTSC/ATSC color space and gamma. However, like most later model consumer CRTs, flat panel TVs have built-in circuitry designed to artificially enhance/correct the image. That's the primary reason to use a professional monitor, be it a flat panel or an older CRT.
-DH

Need new monitor advice

I've had a 24" consumer Samsung monitor for the past few years, and for the most part I'm happy with it, but since getting a Canon DSLR and Lightroom, I've been thinking about getting another that will show me the full color gamut of the camera. I was almost decided on the Asus PB278Q, which is supposed to show the full sRGB gamut but only 78% AdobeRGB. I don't know much about gamuts, but I had read a while ago that it was better to set the camera to Adobe RGB since it provides a larger color gamut and gives better prints, so I started doing that.
So I'm thinking that if I'm going to spend so much money on a professional monitor, I'd rather step it up a little and get one that allows me to see the full Adobe RGB gamut, for which this Asus model wouldn't work. One that does have AdobeRGB is the ASUS PA246Q, but the review on Anandtech says the black levels are not that great, so I'm looking at other monitors that provide AdobeRGB and good black levels. So I read about the NEC PA271W, but besides being very expensive I also read that its anti-glare coating makes highlights look grainy, so I wouldn't get that.
While I'm not a professional photographer yet, I'm advancing in that area and some day soon I would like to become one, so I would like to invest in a decent monitor that will show me the full color gamut. However I would like to ask from more experienced photographers, is the difference between sRGB and AdobeRGB that big a deal? I mean, if I put my camera on a tripod and take the same exact picture, one in sRGB and the other in AdobeRGB, with a monitor that displays 100% AdobeRGB, would I be able to tell the difference? I know I can't tell the difference in my current monitor, but it's a low end consumer monitor, even though the photos look beautiful. I'm just wondering if I buy the Asus PB278Q, which is full sRGB and only 78% of AdobeRGB, will I really tell the difference with a 100% AdobeRGB monitor.
So basically I would like to know, for professional photographers, how important it is to have a 100% AdobeRGB monitor?

Thanks for your reply. I'm 41 and I don't have cataracts, so that's not an issue. Here's what I'm trying to get at. I'm a wedding videographer, and I constantly see photographers carrying around Canon 5D Mark IIs and IIIs with lens sets that are more expensive than the camera itself all together. I saw the same thing recently when I went to a local outdoor tourist attraction and it was 70 degrees and perfectly sunny, so there were about 20 different portrait photographers, each with their clients going around this place trying to find the best location for their shoot. All of them also had 5D Mark IIs and IIIs with very expensive lenses and so on.
I have a Canon 60D with the 18-200mm kit lens, as well as two other lenses, a 28mm and a 50mm, with a circular polarizer for those two, and a Speedlite 430EXII flash. Recently I spent a few hours with a friend and her family doing their portraits, and many of them turning out amazing, and even better once I tweaked them in Lightroom. This is not only on my 24" monitor, but also when displayed on a 46" TV set at full screen.
What I gather from this is that you don't need the most expensive equipment to achieve something great if you know how to use your equipment well, as long as your equipment meets the standards of what you're trying to do. I know that my photos wouldn't have turned out so great with a P&S, even if I would have shot them exactly from the same position.
Now, what I'm trying to ask is, does this reasoning apply to the monitor as well? I'm almost decided on the Asus PB278Q, even though the PA246Q has full Adobe RGB coverage, but it's 24" and I can really use all that extra space the 27" provides.

External monitor for FCP

I am looking into purchasing an external monitor for my iMac. The primary use would be to monitor the output of what I am editing in FCP, rather than have it be a secondary monitor (for dual screen editing). Currently my setup is an old 13" tv connected through a canopus converter, but I would like to purchase a flat screen and I am trying to figure out if I need to buy a flatscreen TV or just a flatscreen computer monitor. Hopefully this makes some sense--let me know if I can get away with the monitor instead of a tv!!

Kim -
What does the canopus converter offer for outs? Composite? Component? HDMI?
You are on the right track. How important is it for you to have the BEST, most 'true' picture to view?
I'm gonna hang out a few people here...
Some folks insist on running their audio thru crappy speakers just so they can make sure the audio sounds good on run of the mill TVs -- YET insist on having only the finest high quality broadcast adjustable with isolatable blue gun fancy production monitor to CC their media.
I say hogwash! (kinda)
Yes, you want a production monitor (for a number of reasons) to best set your broadcast luma/chroma. But are you broadcasting? Don't get something fancy if all you have coming out of the canopus is composite... I'd worry about getting the finest product with what you have first. Then worry about a new mac with a professional video card with a professional product with a professional monitor (audio AND video) setup.
Help?
CaptM

[GeForceFX] GeForce FX 5200 TDI128LF - No DVI

Hello,
I just purchased a GeForce FX5200 TDI128LF with DVI out. I have attached it to my IBM P260 monitor using a DVI cable and when I flip the switch for DVI input on my monitor there is no signal. I've powered down, re-started, disconnected the VGA cable and let it cold boot with only the DVI cable attached. I've attached both the DVI and Analog cables (this is a dual-input monitor) and only receive the signal for the Analog cable. I just want to use dual-monitors for my graphics applications but only receive signal through the analog. When I go into the NVIDIA control panel but it only shows the analog display and the S-Video out. There is no option for DVI. This has been very frustrating. Please advise.
I am operating an:
emachines W4885
Intel Pentium 4 - 2.8Ghz Processor
512 MB 2700 DDR SDRAM
Windows 2000 Professional
(Dual boots for Windows XP Professional)
Monitor is IBM P260
Thank you,
Michael Hargett

No. This one's new, but that hadn't crossed my mind. Shouldn't I at least be able to see the DVI out on the card in the NVIDIA properties, though?
--MH

Mac book pro, Vram 256, how to improve performance of Apple Motion

i am in video editing since one year and I don't have any experience about video cards etc
I was answered in un another thread that to drive a professional monitor I shoud buy a device as MATROX MXO2 FAMILY,
my question is can that device let me bypass limit of my internal Vcard and raise performance when using apple motion and after effects?

Sorry, but capture cards lik the Matrox MXO2 don't boost performance with MOTION. Only a better graphics card will. And with a laptop, you can't swap out what you have. You have what you have. For better performance, you would need to get a MacPro and a higher end graphics card.
Capture cards don't factor in here.

Professional Monitoring

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