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Why External Monitoring?
Where can I learn about WHY I would need to do external monitoring?
In other words, why do I need to buy a box (like a Matrox or Blackmagic or AJA) and an external monitor?
I don’t get why I need to do that.
I mean, why can’t I just add another Radeon video card and use another computer monitor?
I’ve heard that some monitors (computer ones) are “great” to monitor with.
Now, consider I don’t know how to “calibrate” either (That’s my next learning step) but can’t I just calibrate any computer monitor or TV or HD monitor or blahblahblah monitor and be fine?
Is it just for “Broadcast” issues and quality that I need to use an external monitor? Are there different outputs that need different monitoring adjustments?
What if I’m going to film?
I would like specific answers but if you can just point me to some good sites/pages to learn more about this, that would be great!
Thanks,
Eric -
9 Replies
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Short answer: Things look very different on a computer monitor than on a broadcast. If you want to work blind it’s up to you.
Computers are progressive, NTSC is not. Major color/gamma shifts in HD as well.
Joey -
If you do a search in the Apple Color forum here you’ll find a lot of talk about proper monitoring. Basically, NLE software doesn’t generate a b’cast accurate images inside the GUI, computer GFX cards don’t send out b’cast accurate signals, and computer monitors aren’t designed to properly display NTSC, PAL, SECAM, and/or ATSC video signals.
-A
3.2GHz 8-core, FCP 6.0.4, 10.5.5
Blackmagic Multibridge Eclipse (6.8.1) -
Okay, it’s starting to make sense….
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trust us, If we didn’t need to spend at least 3k on a monitor we wouldnt!
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So really it’s just if you’re going to TV? What about film? How’s that work? Is that why they have DI/color correcting sessions?
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[Eric Harnden] “So really it’s just if you’re going to TV?”
HARDLY!
[Eric Harnden] “What about film?”
A computer monitor doesn’t compare to projected film at all! The same thing applies for film…same monitors.
[Eric Harnden] “Is that why they have DI/color correcting sessions?”
DI is just ONLINE…just getting things high res. Color correction is a separate thing. And yes, Broadcast TV and Feature Films alike have this. I’m gonna have to talk to you about this next time we have pizza…
Shane
GETTING ORGANIZED WITH FINAL CUT PRO DVD…don’t miss it.
Read my blog, Little Frog in High Def -
Something tells me you would! 😉
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I recently setup a system with a Kona LHi, and was discussing the difference between uncompressed and ProRes422HQ. The client ultimately decided to work in DV.
If the picture on your computer screen looks “pretty damn good to me”, then there is nothing to discuss. If clients think that DV25 looks “just as good as uncompressed video” – well, if they are paying you, you just shut up and say “thanks for the money”. Sometimes, I think that there are definate negatives about staring at video screens for 30 years. Maybe most of us are wrong- maybe DV25 (and the image you get on a $179 DVI monitor) is “good enough”, and “looks pretty good”.
Bob Zelin
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hahaha
thats classic Bob…
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