Editing Monitor doubling as field monitor

[Nick Griffin]

We went with the 17″ Flanders (FSI) monitor a few years ago when they first came out and couldn’t be happier with it both as an editing and field monitor. Like other pro monitors the Flanders have a set of screw threads on the back which attach to an adapter which then attaches to a C-stand. It’s simple and its secure. Not sure if the Dell has anything like this as that’s not likely the monitor’s intended use.

John, I understand the economics of your decision but would make two arguments. 1) There’s really no good substitute for a real monitor with the myriad of functions the Flanders monitors have, ie. – blue gun only for set-up against color bars, a freezable sub-window for comparing an existing one shot to the live one, safe areas and 4×3 protection markers, easily battery powered in the field, on screen time code and a myriad of real scopes which you an toggle on and off instantly. 2) The Flanders is made for pro use and built to last for years so it will hold its value. Not likely with the Dell.

Now for one fly in the ointment, I don’t know what outputs you have on the Canon, but I don’t believe that the Flanders monitors have an HDMI input, meaning if you need HDMI you might have to spend a few hundred bucks for an adapter. If it were my decision, I’d still go with the pro choice even if it required floating a loan.

My two cents.

[Bram Desmet]

Just as an FYI you can use a really inexpensive HDMI to DVI cable or HDMI to DVI adapter to get video from a camera with HDMI or mini-HDMI out to the DVI port of all FSI monitors. This should only run you somewhere between $5 and $35.

Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com

[Juan Salvo]

$5! Bram that’s way too much!

Try $2.72.

https://www.monoprice.com/products/product.asp?c_id=102&cp_id=10231&cs_id=1023104&p_id=2661&seq=1&format=2

[Bram Desmet]

Even better, though for most DSLR’s make sure to get the mini-HDMI to DVI, not standard HDMI to DVI cable. But as your link proves, super inexpensive to get a cable like this that will allow you to use the Canon on a monitor with DVI port.

Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com

[Nick Griffin]

Wow. I had no idea it was so simple. I was under the mistaken impression that something like a Black Magic adapter would be needed.

Bram- do you know if the Canon outputs timecode that the monitor can display? Also does audio travel through the HDMI connection as it does through SDI? That’s something I’ve found VERY useful.

[Bram Desmet]

While HDMI can carry audio DVI does not so you will only be able to get the video to the monitor with the type of cable Juan linked above. FSI monitors can only pull LTC, VITC1, or VITC2 timecode from the HD/SD-SDI inputs, though I don’t think the HDMI output of any current DSLRs can embed timecode into ancillary data anyway so this is likely a moot point. Come to think of it, I suppose most DSLRs have no true timecode per se, though I am not a DSLR expert by a long shot so I’m happy to be corrected on this point.

Bram Desmet
FSI (Flanders Scientific, Inc.)
http://www.FlandersScientific.com

[John Young]

I guess I am trying to decide on a IPS panel for monitoring on set vs. a small 4-7” on camera monitor (like the Small HD DP6). I have to buy a new computer monitor and I can afford a large IPS that has solid color reproduction. I was hoping that I could use that and not have to buy the small on camera monitor. Kind of killing two birds with one stone (although with an IPS monitor without scopes it would be more like, killing one bird and wounding another).

I mostly agree with what has been said, but for me, right now a $3,000 monitor is just not going to happen. Maybe at a later time, I will get a $20,000 small business loan and I can put an FSI on the list, looks like it would be worth it. Bur for now, I am definitely not going to put an 17” FSI monitor on a credit card.

Thanks for all the input.

John

http://www.johnathanyoung.com

[Scott Sheriff]

I’ll throw out a different opinion.
I wouldn’t take a big expensive studio-edit monitor on shoots. As soon as it leaves the studio, there are a hundred ways for it to get damaged. Dirty power, C-stand gets knocked over, vibration from traveling, etc.
I know people do it all the time. But unless I need a big studio type monitor to set up FX, or something of that nature that pays well enough to justify the risk, I say no. For most gigs a small lower cost monitor is risking a lot less, and is often more convenient to move around and place where it’s needed.

Scott Sheriff
Director
https://www.sstdigitalmedia.com

“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair

Where were you on 6/21?

[Nick Griffin]

Scott-
One of the few times we disagree. After a few years of shooting with the 17″ FSI, for me it’s the only way to go. First of all it’s not a 24″ or larger monitor so it’s not that heavy or difficult to pack up and take with us. Second, features including the IRE scope; the side-by-side picture comparison which, using playback from the camera, enables us to see the live shot beside any previous shot; the 4×3 protection overlay and the 1:1 pixel mode for doing critical focus without being on top of the camera are too useful to be without.

As to risk, it’s a $2,500 monitor. If it were more, I might feel differently. We also mount it on a rolling C-stand so it can roll along with dolly shots when needed. In an ideal world (also known as “when I grow up”) I probably will have a large monitor which stays in the edit suite and a 9″ for the field — provided it has the full FSI feature set. But for now I like having a real monitor on shoots.

And to re-address the original post, how realistic is it to get the gamma and other things set to turn a Dell computer monitor into a realistic — and informative — field monitor? If anything there’s the case where travel vibration, etc. will reek havoc. (IMHO.)

[Scott Sheriff]

[Nick Griffin] “As to risk, it’s a $2,500 monitor. If it were more, I might feel differently.”

I still think $2,500 bucks is a chunk of change to lose if Murphy shows up on set, but I know what your saying. But look at the OP. If I were in his situation, I wouldn’t take my one and only edit monitor on location.
Just sayin’
We are now living in a world where the on set monitor costs more than the camera. Never thought that would happen.

[Nick Griffin] “Scott-
One of the few times we disagree.”

LOL, you better get yourself checked out quick if this is true!

Scott Sheriff
Director
https://www.sstdigitalmedia.com

“If you think it’s expensive to hire a professional to do the job, wait until you hire an amateur.” —Red Adair

Where were you on 6/21?