FLANDERS CM171 vs CM240

bmowell

bmowell

Well-known member
I'm needing a dual-use color correction studio/field monitor and have the opportunity to purchase either a new CM171, or used and in very good condition CM240 for the same price. CM240 has been discontinued by Flanders but are very similar except for the backlight technology.

Really want something to help up my game in both the studio and in the field.

I've spoken with Flanders about the advantages and disadvantages of each, but I'm still having trouble making up my mind.

Does anyone have any experience with either monitor that they would like to share? Big size difference, I know, but that really doesn't bother me as I have a 50 inch Panasonic plasma in my studio to check for noise.

Thanks!
 
Check out the Sony OLED monitors. I've never been impressed with the FSI monitors that I've seen in the field that a few colleagues have(don't know the model #'s). The picture has always seemed VERY flat an un-inspiring to me(not to be confused with neutral or "accurate"). I had my 17" Sony calibrated and pre and post calibration image was extremely close(not sure if you could have even discerned the difference with the naked eye).
 
I have the CM171 which I use both on location and in the studio. If I had to do it again, I would go for a 24" monitor. The 17" on set, I never feel compromised and all the I/O has saved my bacon many, many times but in the studio when editing and grading, I am always cursing its size or lack thereof.

The decision is complicated as you know. FSI monitors are expensive and the jump from a 17" to a 24" is a sizable difference in cost. Flanders came out with a sub $2000 monitor a few months ago that has most of the I/O of the CM171 that is bigger. Have you looked at that? As well NAB 2017 is coming up soon and there very well could be decent broadcast level monitors coming out that cost a lot less than the stuff out now.

The major deal with the FSI monitors, as you know, is color fidelity. It also is a great diagnostic tool on set to deal with confirmation of color and tonal adjustments when you are trying to match cameras and making sure you aren't going to have issues with interlacing. The I/O is great if you are dealing with outboard switchers, de-interlacers and recorders on set among other things. The confidence it gives you in terms of color rendering cannot be overstated.

EDIT:

If you are going to use this on set, you must get the VESA to baby pin receiver mount for the monitor. It is pricey but you NEED it and you will not regret the spend. You can not only put the monitor on a light stand/C-Stand but in the studio you can simply attach a Mafer/Super Clamp with a Baby Pin to your desk and mount your monitor in seconds to it. Having a pivoting color correction monitor in your studio, I have found very useful and you can attach/remove in seconds.

I got the field case for the monitor. I would recommend the pelican style case over the field case unless you do a lot of outdoor nature style doc shoots.
 
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Thanks for the response, Andrew. Sound advice.

I guess it's all a matter of perspective. In my case, I curse my computer monitor and would kill for something even 17" that I could accurately calibrate. Being able to output to the 50" Panny plasma definitely helps with grading and judging noise, but I'm wanting a Flanders for accuracy.

How old is your CM171?
 
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