HD editor examples

[Tony]

Marc,

I prefer a 20″ multi format monitor for the editor. The Sony PVM-20L5/1 is a good choice.

Tony Salgado

[Bryce Whiteside]

There is this here on the Cow:
TBC Crossfire X-K3 Non-linear Editing Console by Marco Solorio
https://www.creativecow.net/articles/solorio_marco/tbc-review/index.html

There are these:
Forecast-Consoles
https://www.forecast-consoles.com/broadcast/index.html

HTH,
Bryce

Don’t worry Mr. B. I have a cunning plan…

PowerBook 1.67 Ghz ATI 9700 128 MB 2 GB
Final Cut Pro HD
DVD Studio Pro 3
Motion

[Marc Rolph]

Can you really get true reference with that? Color Correction?

Marc Rolph
Producer/Director
Mississippi State University

[Walter Biscardi]

[Marc Rolph] “Can you really get true reference with that? Color Correction?”

Sure, I use it for both HD and SD color correction, both film and broadcast programming. It’s a great monitor, though it’s being discontinued and won’t be around much longer.

Thanks for the kudos on the suite, if you haven’t visited biscardicreative.com you can go there and tour both rooms. I built everything in both rooms and am about to replace my desk in “Wally World” with a large country table. I don’t like ‘traditional’ edit workstations like Winsted and some of the others that have been reviewed here on the Cow. I like to set a very comfortable environment for my clients and I find that these “industrial” or “traditional” edit consoles are rather harsh and not very inviting.

My clients love the overall relaxed feel of both rooms. We’re about to do a total upgrade of the entire facility with all the equipment moving into a 7′ rack out near the Coke machine with machine control and audio/video routing feeding both rooms. This will make both rooms much less cluttered and allow even more “fun” stuff in there for the clients.

Big comfy sofa is a must. A second computer with internet access for the client is a favorite along with the 47″ HDTV with Xbox out front. I love my new KRK Rocket 5 powered audio monitors. The Plasma screen on my wall is a consumer model for so the clients can see a nice large “pretty picture” but I color correct on the PVM20.

Walter Biscardi, Jr.
Creative Genius, Biscardi Creative Media
https://www.biscardicreative.com

Now in Production, “The Rough Cut,” https://www.theroughcutmovie.com

“I reject your reality and substitute my own!” – Adam Savage, Mythbusters

[Marc Rolph]

Walter,

Please tell me how I can talk my boss and chief engineer out of getting a $5000 PVMD-14″ Sony monitor.

Marc Rolph
Producer/Director
Mississippi State University

[Debe]

In your original post, you mentioned a two-tiered desk.

Are you planning on putting the monitors up on the second tier, and how high of a tier would it be?

I ask after having spent my formative years at a facility where the desks for every edit station, non-linear as well as linear, were designed with the monitors at least 6″ if not 10″ off the main desk. It seemed like such a cool setup at the time, but after six years uf looking “up” everyday, especially in the NLE rooms, which were higher up than the linear rooms, I can tell you, anything higher than 3 or 4 inches “up”, or perhaps 2 rack units high, will leave you with a sore neck at the end of the day.

I can attribute fatigue, headaches, and a grumpy demeanor after a long edit day to the poor ergonomics of those edit stations.

Not to harsh on my former employer, ‘cos it was a great place to work and I learned so much there, like never build an edit station and intend to put the monitor so I’d have to spend the day lookng “up”!! If your stations are built so the editors are looking straight into the middle of the screen, then you’re golden!

debe

[Marc Rolph]

I’m tall, 6’4″, so the tier system actually helps me from looking down too much. The way my set-up is now, my production monitor is so far to the right, the nerves in neck hurt at the end of a day from turning my neck so much. Hopefully I can put the editing monitors, as well as the production monitor on the same shelf.

Marc Rolph
Producer/Director
Mississippi State University

[Oliver Peters]

I’ve built my share of suites and worked in many others. I would encourage you to use a desk design in which the bottom of the displays are at desk height. This means to recess the stands into the table. Essentially this puts the monitors at a similar height to the way a laptop is set up. Anything that causes you to look higher than horizontal or slightly downward will result in fatigue.

The second issue is display size. The vogue seems to be dual 23″, but I would opt for dual 20″. The reason is that dual 23″s really spread the L-R span quite far apart. Also text will be smaller on the 23″s than on the 20″s because the higher native resolution of 23″ flat panels.

Sincerely,
Oliver

Oliver Peters
Post-Production & Interactive Media
Orlando, FL
http://www.oliverpeters.com

[Marc Rolph]

can the 20″ monitors do HD editing? I was under the impression that the 23″ was needed to display HD video.

[Walter Biscardi]

[Marc Rolph] “Walter,

Please tell me how I can talk my boss and chief engineer out of getting a $5000 PVMD-14″ Sony monitor.”

Do a side by side comparison, maybe? I don’t know, seems a no brainer to me with the PVM20L5/1 coming in around $2,700 so take the savings and apply it towards more plug-ins for After Effects or add Final Touch HD to your system for realtime color correction.

The PVM’s have been a real standard for so long that you really can’t go wrong with them.