-
Yes, another monitor question
So we’re looking for a new color correction monitor, with HD capabilities. I found the Panasonic BT-LH1700W to have just about all the qualities we need, and from what I read it has some key features that make it appropriate for Broadcast work. Does anyone have an opinion on this model or series? It’s only a 17″ but that should be fine for us. (Our edit suites are pretty small so a big-a$$ screen isn’t totally necessary).
PS, I did a search for this model but didn’t find any posts.
Cheers,
Stone
“If God could do the tricks we can do, He’d be a happy Man.” – Peter O’Toole – “The Stuntman”
Machine Model: Power Mac G5
CPU Type: PowerPC G5 (3.0)
Number Of CPUs: 2
CPU Speed: 2.5 GHz
L2 Cache (per CPU): 512 KB
Memory: 4.5 GB
Final Cut Studio (Not Universal, yet) -
13 Replies
-
Sony PVM-14L5 and PVM-20L5. With the HD SDI card option you have an inexpensive HD monitor.
The Panasonic BT-LH1700W is a good reference monitor…good for clients to look at, and great for monitors for cameras in the studio and in the field, but they are not good for critical color correction.
Shane
Littlefrog Post
http://www.lfhd.net -
Wow, thanks for the quick response! So for color correction we’re still stuck with CRT? Darn…. Well, I guess it’s CRT then. Thanks!
“If God could do the tricks we can do, He’d be a happy Man.” – Peter O’Toole – “The Stuntman”
Machine Model: Power Mac G5
CPU Type: PowerPC G5 (3.0)
Number Of CPUs: 2
CPU Speed: 2.5 GHz
L2 Cache (per CPU): 512 KB
Memory: 4.5 GB
Final Cut Studio (Not Universal, yet) -
Shoot, now I have a question…. As far as I know, most people with HD TV’s don’t have CRT HD TVs. So If I’m color correcting on a CRT, how do I know they’re going to get the colors I want them to get?
“If God could do the tricks we can do, He’d be a happy Man.” – Peter O’Toole – “The Stuntman”
Machine Model: Power Mac G5
CPU Type: PowerPC G5 (3.0)
Number Of CPUs: 2
CPU Speed: 2.5 GHz
L2 Cache (per CPU): 512 KB
Memory: 4.5 GB
Final Cut Studio (Not Universal, yet) -
Use a reference grade LCD like Cinetal or Ecinema.
Graeme
– http://www.nattress.com – Film Effects and Standards Conversion for FCP
-
[Winston A. Cely] “As far as I know, most people with HD TV’s don’t have CRT HD TVs.”
That is the problem, isn’t it? Well, most peoples CRT TVs cannot come close to representing the colors that a CRT produces, so…what does that say? And LCD and Plasmas all look different (walk into Circuit City or Best buy and take a gander). But currently there are FEW color grade LCD monitors, and Graeme pointed them out.
They ain’t cheap though.
Shane
Littlefrog Post
http://www.lfhd.net -
I see what you mean! So it’s LCD for clients CRT for me…. Now the trick’s finding two monitors for the price of one! lol
“If God could do the tricks we can do, He’d be a happy Man.” – Peter O’Toole – “The Stuntman”
Machine Model: Power Mac G5
CPU Type: PowerPC G5 (3.0)
Number Of CPUs: 2
CPU Speed: 2.5 GHz
L2 Cache (per CPU): 512 KB
Memory: 4.5 GB
Final Cut Studio (Not Universal, yet) -
You may also want to look into the JVC DT-V1710CGU, it lists for $2765 if you want to go the component route and $6100 if you want to stick with HD-SDI.
-
The 14L5 is $1500 component, $3150 with the HD SDI option.
Shane
Littlefrog Post
http://www.lfhd.net -
WOW when did they (Sony) make the BKM-143 available? What is the difference between it and the BKM-142 besides $4000.00? I’ve been sleeping and dreaming of the BKM-142 but this could be a reallity. Has anyone had any experience with the Ross HD card?
“everything is broken”
-
I own the panasonic 17 in monitor and still ask myself the same question. How good is it for critical image judgement?
Last week I had an chance to place a 17in Panasonic next to a small Sony HD crt, an E-Cinema display, and a large Panasonic HD CRT display. We did not have time to critcally white balance all the monitors, but they looked quite close to each other, except the E-Cinema which looked slightly red.
What I was most interested in was how the 17 in Panasonic handled colors compared to the CRT and the E-Cinema.
At first glance a scene through the camera looked quite similar on all the monitors ( we did match the black and white levels) except of course the e-cinema dislplay was slightly redder. Putting up color bars revealed a different story. Each monitor looked different even after confirming the adjustments the via the blue only buttons. The intensity of the color bars on each display was different with the Panasonic LCD having most noticably less intense reds than the CRT’s. The E-cinema (I think!) was somewhere between the CRT’s and the panasonic. But note that the CRT’s did not match eachother either.
So what’s the “Standard” to color correct to? Well considering that all the viewers use a wide varitey of displays, I would say from my personal experience that as long as the entire project is color corrected on the same well adjusted display(any of the four mentioned above), it should be consistant enough in look and close enough to standard that viewers will see the image that they have become accustomed to viewing.
My guess, and it’s only a guess, is that monitors like the e-cinema and the cinetal have the best chance of meeting the REC-709 standard as they can be calibrated using look-up tables to correct for deficiencies in the LCD panel. But then, if the LCD cannot ever display a true CRT RED for example, then no look-up table can fix that completely.
For practical reasons, I’ve been shooting and using my 17in panasonic as my on set reference monitor and I have not been disapointed in the results yet.
I hope this helps and is not just futher confusing the whole issue….
Reply to this Discussion! Login or Sign Up