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Adding a broadcast monitor to FCP NLE
Hi all, I need some constructive advice because I’m at a bit of a lost end.
I am setting up my NLE set up, and currently I am working across two 20″ ACD’s in FCP for my edit and workflow. I recently acquired a Sony 14″ PVM-14M4E broadcast monitor for image analysis and so I can view the output video with less of a color bias found on LCDs. It’s default with x2 composite BNCs, x1 s-video and x1 RGB component BNC input. Now, I am unsure how to interface this monitor with FCP on the Mac Pro. Obviously I will need some hardware in between and I have read that my best bet is to get a Blackmagic DeckLink. The problem is I believe these to be all SDI, and i don’t believe my monitor accepts an SDI input, as far as I am aware it only accepts a total analogue component or composite input. Is their an easier way do go about getting a video output from FCP to the B/C monitor?
I was pointed toward something like this https://www.onevideo.co.uk/blackmagic-design-decklink-sdi.html – but again I am doubtful that it would work with my monitor.
Any advice would be greatly appreciated.
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12 Replies
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[Daniel Griggs] “as far as I am aware it only accepts a total analogue component or composite input. Is their an easier way do go about getting a video output from FCP to the B/C monitor?”
Yes, unless that monitor has the optional SDI card (if it was even available for that monitor) you have analog inputs only.
Personally we use the AJA Kona series of cards with the LHi being the one you would want to look at. that’s what I would recommend with the nice advantages is that it has both Analog and digital outputs along with all manner of realtime conversions should you need them. SD to HD, HD to SD, 720 to 1080, 1080 to 720. We use these conversions all the time during our editing process for mixed format projects.
But both BMD and Matrox have options as well and I’m sure folks who use those will chime in. We have the BMD 3D Extreme card here but we only use that with Davinci Resolve, not with editing.
Walter Biscardi, Jr.
Editor, Colorist, Director, Writer, Consultant, Author, Chef.
HD Post and Production
Biscardi Creative Media“Foul Water, Fiery Serpent” Winner, Best Documentary, LA Reel Film Festival.
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The monitor apparently can be upgraded to SDI, but I am yet to see any SDI cards for it, so analogue is probably the only way for this monitor and with myself being pretty strapped for cash, isn’t helpful.
I had a look at the cards you suggested, although expensive it certainly would be well be worth the investment for the added features as you describe but for a simple video output (which is all I would like right now) such a card seems overkill.
Previously, I was looking at the Grass Vally Canopus ADVC110, https://www.grassvalley.com/products/advc110 a set-top-conversion box if you will, based on the IEEE1394 (Firewire) interface, that would provide the analogue output i need, which i could patch through via s-video or composite in. However, on testing my monitor just now with a composite input; I am getting THIS very worrying output on the screen:
https://mediascape-productions.dynalias.com/servs/files/PVM14M4E_Col_Err.jpg
since when did Blue become Red? – Any ideas?Kindest Regards.
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The Canopus ADVC-110 is DV only. This won’t work for HD or any other flavor of SD. It is extremely limited.
JUST monitoring? Not capturing? Then look at the Matrox MXO2 mini. Well, you can capture with that too, but it doesn’t offer deck control. And no SDI, component, composite and HDMI. Then there is the Decklink Intensity Pro…then the Matrox MXO2 LE, Decklink Studio. There are cards for all ranges of input and output. I have the MXO2 and the MXO2 mini (the mini also works with Avid Media Composer 5)…but have worked with Decklink and AJA products.
Just tell us the price range and the connectivity needed…Or look at all the options we provided. Component out to the monitor is fine. And while it is only SD, why not get an HD card, and one that can downconvert HD to SD so you can see on that monitor?
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
[Shane Ross] “Then there is the Decklink Intensity Pro…”
I would recommend against the Intensity Pro. It does one thing satisfactorily – output HD video formats via HDMI or analog component – but its downconversion to SD (which you’ll need if your monitor isn’t HD) is nowhere near as good or as flexible as the AJA Kona cards. We have two in the office where I work and they’re terrible – we just replaced one with a Kona LHi and it’s a world of difference better. You get what you pay for.
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That bad, Alan? Wow…OK. I used one on a job a month ago, but I didn’t downconvert with it. I made a DVD.
So on the cheap end, I’d look at the MXO2 LE or the MXO2 Mini. I have those and they downconvert well.
But if you have the extra dough, I also recommend the AJA Kona cards.Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Although I do work with HDV and XDCAM, my monitor is only SD. (800 TV lines) – At the moment I capture HDV via a Sony GV-HD700E HDV deck which I borrow from a friend right now, as I don’t have £900 for a decent capture deck. So while i understand the benefits of having a capture card that allows for conversion, I don’t have the money to grab that kit yet. I realize the B/C monitor i want to run is outdated now, but as I have it at my disposal I was looking for a relatively ‘cheap’ way of connecting it to FCP without signal and color degradation, and although the monitor isn’t HD, it at least will provide me with a reasonable output while working with the scopes in FCP and Color.
My budget is £250-ish. I could spare more if really necessary, but at the moment, if i could get some kind of component or composite out put to the monitor from the Mac that would be helpful.
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Spending $250 on the wrong solution is bad business Daniel. The Matrox mini Shane told you about is only twice as much and it does everything you need and more.
David Roth Weiss
Director/Editor/Colorist
David Weiss Productions, Inc.
Los Angeles
https://www.drwfilms.comPOST-PRODUCTION WITHOUT THE USUAL INSANITY ™
A forum host of Creative COW’s Business & Marketing and Apple Final Cut Pro forums. Formerly host of the Apple Final Cut Basics, Indie Film & Documentary, and Film History & Appreciations forums.
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I understand your point, I was just exploring any ‘alternatives’ when I really don’t have very much money at present. I’m a small-time local editor that tries to do a professional job on whatever material someone tosses my way to have a look at. I’ll be frank, I’m trained in most of FCS, but when it comes to interface hardware for preview or capture, I have no idea. Maybe i should just stick with my FCP and Color scopes like i always have, but as i was just given a B/C monitor and have it at my disposal, I thought I would try and make use of it, or at least that was the idea. All the advice i have been given has been much appreciated and I may just save hard and get the Matrox Mini.
But any other comments would be most welcome.
Kindest Regards
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[Daniel Griggs] “I was looking for a relatively ‘cheap’ way of connecting it to FCP without signal and color degradation, and although the monitor isn’t HD, it at least will provide me with a reasonable output while working with the scopes in FCP and Color.”
But you would be grading in an SD color space, which is far different than an HD color space…so you’d be grading your footage for SD, not HD. It would be a poor solution for grading footage meant to stay HD.
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
what about just finding an original MXO? that should work just fine for $ 250
I had one and it worked really well for me until I replaced it with a Kona.
Ditto on the BMD down-conversion. I have one of the original Multibridge-Extremes and it has never down converted a satisfactory image.
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