1080p Playback Monitor for Video Editing

[dpavid]

Running triple 1440p monitors as my desktop and I want to use the HDMI out for a playback/program out monitor. Something 1080p consumer will do. Not going to do HD-SDI to a Sony, Panasonic, TV Logic, Marshall, Ruige, Broadcast Monitor.

This is just for playback on a larger scale so I can see pixel density 1:1 on HDMI out. Color Correction doesn't have to be super accurate, but something decent and fairly close. Any recommendations of brands and specs?

I'm thinking a Samsung LED 1080p 120MHz.

Thanks in advance for your feedback.

 

[pwhitehead]

Not sure if your interested,but there's really nice Sony sdi, composit and hdmi hd broadcast displays you can buy from markertek.. You can do hdmi out of your computer into that just fine..

 

[iMacBooked]

Samsung LED's are good monitors IMO. Depends on the model, but as it's 1080p it's definitely fine. I would say buy it.

 

[dpavid]

Not sure if your interested,but there's really nice Sony sdi, composit and hdmi hd broadcast displays you can buy from markertek.. You can do hdmi out of your computer into that just fine..

Like this one?

http://www.bhphotovideo.com/c/product/898437-REG/Sony_30_PVM_X300_4K_TRIMASTER.html

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Samsung LED's are good monitors IMO. Depends on the model, but as it's 1080p it's definitely fine. I would say buy it.

I think so too. Just fishing in case someone knows something I don't know, which is always the case.

 

[pwhitehead]

This is the one I use currently at my work station in the studio! http://www.bhphotovideo.com/c/product/1029227-REG/sony_lmda170_lmd_a170_17_lcd_production.html It works great with Final Cut Pro 7 and Premiere! I don't use a converter though. We have the last edition of the Mac Pro towers and have a Black Magic DeckLink Mini Monitor / Mini Recorder. http://www.blackmagicdesign.com/products/decklink

Below is a few links to my edit work station so you can get an idea at how we use it..

http://imgur.com/SHdTeHw
http://imgur.com/Og9235e
http://imgur.com/qtdC3Mr

Hope this helps bud, just hit me up if you have anymore questions.

 

[dpavid]

This is the one I use currently at my work station in the studio! http://www.bhphotovideo.com/c/product/1029227-REG/sony_lmda170_lmd_a170_17_lcd_production.html It works great with Final Cut Pro 7 and Premiere! I don't use a converter though. We have the last edition of the Mac Pro towers and have a Black Magic DeckLink Mini Monitor / Mini Recorder. http://www.blackmagicdesign.com/products/decklink

Below is a few links to my edit work station so you can get an idea at how we use it..

http://imgur.com/SHdTeHw
http://imgur.com/Og9235e
http://imgur.com/qtdC3Mr

Hope this helps bud, just hit me up if you have anymore questions.

Very nice!

 

[ppc_michael]

I want to use the HDMI out for a playback/program out monitor.

You'd be wasting your money on a broadcast monitor using your Mac's HDMI out, since a broadcast monitor is largely about Rec 709 color accuracy from a YUV source, not a full-gamut RGB source like the built-in HDMI will give you.

Any 1080p monitor with an IPS panel and HDMI input should be good for your purposes. Check out the Dell Ultrasharp line.

 

[pwhitehead]

You'd be wasting your money on a broadcast monitor using your Mac's HDMI out, since a broadcast monitor is largely about Rec 709 color accuracy from a YUV source, not a full-gamut RGB source like the built-in HDMI will give you.

Any 1080p monitor with an IPS panel and HDMI input should be good for your purposes. Check out the Dell Ultrasharp line.

I wouldn't necessarily say they are a waste of money at all, unless your not editing for television. If your going to edit for TV and aren't using a broadcast quality monitor, I suggest always using Title and Action safe frame zones. Also make sure you always look at the vector scope and wave form as a reference..

You cant go wrong paying the money for a broadcast quality monitor. You will be seeing the same results as you would be seeing on TV. I can't live without one. When I edit at home by bringing my work home with me, I always use Action and Title Safe zones and monitor all my scopes..

Not having these key things monitored contently can cost tons of money from it looking like total ****. I shoot at work with a sony pwm ex3, shooting 1080 60i and transcode everything apple pro res 422.

 

[dpavid]

Thanks for you feedback. I agree, a broadcast monitor is a must for critical color and safe zones.

That's why I have the triple 1440 monitors so I can have everything open at the same time! My workflow is AVC-Intra100 1080/60i to Offline HD JPEG, edit 3-8 cameras multi-cam, and then reconnect media back to originals for final output. Then we grade make sure everything is broadcast safe, check colors (we don't do a full scale grade), and output to XDCAM EX 1060i for broadcast.

This last monitor is to give us a general idea of what it'll look like pixel for pixel since the default desktop arrangement doesn't. That's it.

Sounds like another IPS 1080p is all we need via HDMI.

 

[pwhitehead]

Thanks for you feedback. I agree, a broadcast monitor is a must for critical color and safe zones.

That's why I have the triple 1440 monitors so I can have everything open at the same time! My workflow is AVC-Intra100 1080/60i to Offline HD JPEG, edit 3-8 cameras multi-cam, and then reconnect media back to originals for final output. Then we grade make sure everything is broadcast safe, check colors (we don't do a full scale grade), and output to XDCAM EX 1060i for broadcast.

This last monitor is to give us a general idea of what it'll look like pixel for pixel since the default desktop arrangement doesn't. That's it.

Sounds like another IPS 1080p is all we need via HDMI.

We have a smaller version of the same monitor for the field. It comes in great for QC video out for our tricaster 860 and the aja kipro recorder. It does the same as the one at my work station (Hdmi, Composit, SDI) except the field one only has 1 sdi input instead of 2 like mine does. Same thing though.

Here are a couple of more pictures of the different types, but the same monitors we use..

Shooting 3 sony pwm ex3s in the studio for a tv show http://imgur.com/GB7Pj2I
Another From my work station (http://imgur.com/kUNjNHl)
Another from work station (http://imgur.com/wYxeeKs)
Tricaster 860 production in the field (http://imgur.com/X6zYWcV)
Another Tricaster 860 set up in the field (http://imgur.com/rX3ETnK)

Gives you an idea from the work station pics what it looks like with final cut pro 7 and premiere cc

 

[dpavid]

We have a smaller version of the same monitor for the field. It comes in great for QC video out for our tricaster 860 and the aja kipro recorder. It does the same as the one at my work station (Hdmi, Composit, SDI) except the field one only has 1 sdi input instead of 2 like mine does. Same thing though.

Here are a couple of more pictures of the different types, but the same monitors we use..

Shooting 3 sony pwm ex3s in the studio for a tv show http://imgur.com/GB7Pj2I
Another From my work station (http://imgur.com/kUNjNHl)
Another from work station (http://imgur.com/wYxeeKs)
Tricaster 860 production in the field (http://imgur.com/X6zYWcV)
Another Tricaster 860 set up in the field (http://imgur.com/rX3ETnK)

Gives you an idea from the work station pics what it looks like with final cut pro 7 and premiere cc

We have an identical workflow. Tircaster 860, Panasonic HPX370's, we record all ISO's at Apple ProRes on Tricaster and a redundant on Hyperdeck Studio. Take the line cut and patch or sweeten edits with multi-cam in FCP 7 during post after event and call it the day.

Here's our typical Pageant setup.

 

[pwhitehead]

Really cool man!! I love the switcher Newtek made for the tricaster.. The different MLE banks are awesome and you patch the inputs that your program feed is to that bank to switch a camera to a big screen n stuff.. Pulling up lower thirds and loading graphics on it is amazing too..

Do you guys use a video DA to ISO or you go in and out or each cam.. I normally go tc out of the master into a DA and go out of the DA to each cam.. Cool stuff man, love the pics!!

 

[dpavid]

Really cool man!! I love the switcher Newtek made for the tricaster.. The different MLE banks are awesome and you patch the inputs that your program feed is to that bank to switch a camera to a big screen n stuff.. Pulling up lower thirds and loading graphics on it is amazing too..

Do you guys use a video DA to ISO or you go in and out or each cam.. I normally go tc out of the master into a DA and go out of the DA to each cam.. Cool stuff man, love the pics!!

I use Fiber via the base stations and camera CCU's. The fiber line carries the audio, timecode, video, return video, intercom, etc... I just did an event last month for 3000 in a ballroom and we had three 100m runs. Works perfect for us. Honestly, my system is just to proof the edits, prep, and export to TV stations via FTP and distribute online. Our editor does all the dirty work. I just make last minute tweaks. That's why it's not too critical for me.

 

[ppc_michael]

You cant go wrong paying the money for a broadcast quality monitor. You will be seeing the same results as you would be seeing on TV. I can't live without one. When I edit at home by bringing my work home with me, I always use Action and Title Safe zones and monitor all my scopes..

He's not getting critical color "as it looks on TV" even if he did use a broadcast monitor, because he would be plugging it in to his built in HDMI port. That port would output a full gamut RGB signal instead of Rec 709 YUV, as used in broadcast television. In order to actually accurately use the broadcast monitor, he would need additional hardware such as a Black Magic Intensity to actually output YUV for accurate color display.

 

[pwhitehead]

I use Fiber via the base stations and camera CCU's. The fiber line carries the audio, timecode, video, return video, intercom, etc... I just did an event last month for 3000 in a ballroom and we had three 100m runs. Works perfect for us. Honestly, my system is just to proof the edits, prep, and export to TV stations via FTP and distribute online. Our editor does all the dirty work. I just make last minute tweaks. That's why it's not too critical for me.

So you come out of the cameras SDI and convert it to fiber?

 

[dpavid]

He's not getting critical color "as it looks on TV" even if he did use a broadcast monitor, because he would be plugging it in to his built in HDMI port. That port would output a full gamut RGB signal instead of Rec 709 YUV, as used in broadcast television. In order to actually accurately use the broadcast monitor, he would need additional hardware such as a Black Magic Intensity to actually output YUV for accurate color display.

+1. Not the route I'm looking to take yet. I'm just waiting to take the jump to 4k and will probably get a UltraStudio 4k and monitor to match. I need te 4k cameras 1st.

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So you come out of the cameras SDI and convert it to fiber?

Yes. HD-SDI caps out about 300ft and copper is expensive relative to fiber. I use a bunch of Mini Converter Optical Fiber boxes.

 

[pwhitehead]

+1. Not the route I'm looking to take yet. I'm just waiting to take the jump to 4k and will probably get a UltraStudio 4k and monitor to match. I need te 4k cameras 1st.

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Yes. HD-SDI caps out about 300ft and copper is expensive relative to fiber. I use a bunch of Mini Converter Optical Fiber boxes.

Since most of the time we broadcast live to TV, normally we run HD SDI out of the cameras. Then take the program feed SDI out of the tricaster, send it in to an AJA Fido. That converts it to fiber and we send that across to another building trough a fiber ring we have on campus, that fiber gets put into a AJA FS2 and down converts it so we can broadcast it live on air.