Should I keep my pro broadcast monitor?

[David Baud]

What do you call a pro-broadcast monitor ? which brand/model is it?

If you mean a reference monitor, from my point of view, any professional (someone making a living in film making) should have a monitor they can trust to make visual decision knowing it will have the best chance to look similar on a client’s monitor.

So I guess you have to ask yourself if video quality is important to you (and your client) or is “good enough” what you want to live by?

David Baud
Colorist & Finishing Editor
KOSMOS PRODUCTIONS
Denver – Paris
http://www.kosmos-productions.com

[Olivier Prudhomme]

It is this monitor https://www.bhphotovideo.com/c/product/739821-REG/Ikegami_HLM_2450WB_HLM_2450WB_Multi_Format_LCD_Monitor.html

I understand what you’re saying about quality.
What I also have to consider is getting this thing professionally calibrated, which isn’t cheap otherwise what’s the point of having it. But I’ve edited in so many places with pro broadcast monitors that hadn’t been cadjusted in years, if ever.

Los Angeles – TV Promo Editor – FCP – AVID

[Shane Ross]

I use the broadcast monitor for everything (even things that don’t air on TV), because it is the most accurate representation of the footage. The Premiere Pro interface isn’t accurate, even on a computer monitor. Avid is FAR from accurate, Resolve…not accurate. None of viewers in those apps are designed to be used as color accurate representations of the footage…they are viewers to see what you are doing. So even if your stuff is viewed online only,

If you make it look good on that external broadcast monitor, you know the footage is good. If it then doesn’t look all that hot on your computer display, that would be because of a variety of OTHER factors…such as what monitor people are using on their computer (is it balanced accurately?) Quicktime Player vs VLC (VLC is more accurate)…Safari vs Firefox vs Chrome (view the same YouTube video on all those browers, it will look different)…youtube compression vs Vimeo… All of the same factors you deal with when sending out for broadcast. What TV is used…is it balanced? What cable/sat providor do you have (they all compress the footage differently when sending out to homes), how did the network compress your final master that you delivered? All that stuff that is out of your control once it leaves your hands.

SO…if you grade on that nice monitor you have, you know it’s right. How it’s displayed after that isn’t something you can control. AND, if you grade only using the Premiere Pro interface…it won’t be accurate like it is on that monitor

Shane
Little Frog Post
Read my blog, Little Frog in High Def

[Blaise Douros]

Someone gave it to you and you don’t want it? The only correct answer is that you should give it to me–I’ll be happy to make it feel welcome in my studio. I’ll even pay for the shipping!

[Olivier Prudhomme]

ahaha
You read too quickly: It’s either I keep it OR I sell it and buy gear with it.
I do realize the value of this thing!

Los Angeles – TV Promo Editor – FCP – AVID

[Olivier Prudhomme]

so Shane how did you get your monitor properly calibrated?

Los Angeles – TV Promo Editor – FCP – AVID

[Blaise Douros]

I’m going to continue to read what I want to read, and respond by saying that I’ll be happy to PM you my address for shipping 😉

[Eric Santiago]

[Blaise Douros] “I’m going to continue to read what I want to read, and respond by saying that I’ll be happy to PM you my address for shipping ;)”

Damn I would have beat you to it but I didn’t feel like throwing it out there at the time 😉

[Olivier Prudhomme]

PM me an offer.
I’ll trade actually.
I need video gear: Aputure 120D, Rhino EVO slider

Los Angeles – TV Promo Editor – FCP – AVID

[John Heiser]

Calibration isn’t something you have to do often, especially if your monitor is in a consistent environment and is treated well. Properly doing it requires some knowhow and equipment, neither of which I have, so I send my Flanders monitor to Atlanta every couple of years for proper calibration, which they do free. You might see if Ikegami does that.

In L.A., there should be any number of capable engineers who can do the calibration either on site or in their office for a reasonable fee, and then you don’t have to do it again for a while. Ikegami might even have an office there and can recommend someone.

John Heiser
Senior Editor
o2 ideas
Birmingham