vision_filmz
Carbonite Member
I know the smallHD monitors do this, but wanted to know if this Marshall does it as it cost about $60 less than than SmallHD dp4.
Thanks for the info if anyone knows!
Thanks for the info if anyone knows!
Marshall Monitor V-LCD50-HDMI = Does it compensate to full screen for dslr video?
- Thread starter vision_filmz
- Start date
Unless they are selling a new version then no, as a result the DP4 image is slightly larger for DSLRs. For $60 you also get a) HDMI pass through, b) much brighter display, c) more power options, d) component and composite inputs, e) view finder option ($200) f) field upgradeable firmware.
-reed
-reed
vision_filmz
Carbonite Member
Do you guys have any deals rite now? Cosmetically I love the design of the Small Hd, but a discount or any kind of Dvx "Love" would be greatly appreciated
Also I think if you guys offered just a Monitor with no Hdmi Pass Through and just the basics it would still sell great as many of us are DSLR shooters working as a one man band and many of those features while excellent would probably not be used. Let me know if there are any current offers in this thread or send me a message as I am ready to buy a SmallHd
Thanks!!
callumjbuckley
Member
will also place order today if some sort of dvx love can be offered.
vision_filmz
Carbonite Member
Well since SmallHd did not reply back I guess that's a No 
callumjbuckley
Member
Shame, will probably go with the Manhattan 5" then as they''re offering a free sunhood
vision_filmz
Carbonite Member
I actually just seen that Ikan has an excellent monitor on their website for $349
Michael Carter
Veteran
If you're going to buy any of the smaller monitors, get one with pro features, especially blue-only calibration. If you don't step up to that, just get a Lilliput. But a monitor that can be calibrated can also be used for grading on your PC with various tools from Matrox or BlackMagic (the blackmagic solution being under $200).
HDMI pass-through is a great feature to have - you might not think so now, but being able to hook up a cheap 22" HDTV for clients or focus is a really cool thing to have. If nothing else, clients see it as a very pro way to go.
vision_filmz
Carbonite Member
Rite now IM only shooting projects in the $500-$1000 range. For that kind of money I really shouldn't be spending anything, but up to $400 for a monitor is the maximum I will go. The smallHd at close to $600 is simply to much money for me and my productions. I only do about 2-3 jobs a month and this is extra money for me.
But to ask you a question what is blue only calibration?
Blue-only takes red and green out of the picture. Using this, a proper display of color bars, and the picture adjustments, you can properly calibrate your monitor to display accurate colors and exposure.
Of course, without any way to generate color bars, it's not really that helpful.
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vision_filmz
Carbonite Member
http://www.ikancorp.com/productInfo.php?id=354
The monitor has a feature called 'blue gun' is this something similar?
vision_filmz
Carbonite Member
Ok, so it would need red and green? This is something that the smallHD dp4 has?
Thanks for the knowledge!
Thanks for the knowledge!
No. Blue Only (aka "blue gun") is a feature that can be turned on and off... it is used to calibrate the monitor for accurate color reproduction. Once it's turned back off, you have full RGB color display.
In order to use Blue Only to calibrate your monitor, you need to be able to send it NTSC color bars. Ideally, this comes from your camera. DSLR cameras cannot generate color bars.
Here's a tutorial on how to calibrate a monitor using color bars and Blue Only:
http://www.glennchan.info/broadcast-monitors/monitor-calibration/monitor-calibration.htm
M. Gilden
Canon DSLR Moderator
Technically, couldn't a jpeg image of color bars be displayed using playback mode on the camera, and thus be able to adjust the monitor correctly?
Technically? Bad idea. Compression and QuickTime gamma shifts can skew the accuracy of the color bars, and if the color bars aren't right to begin with then calibration from them will be off.
But, if you can guarantee that the image hasn't had any shifts, then it will work.
vision_filmz
Carbonite Member
Finally why is/are color bars so important for an external monitor? In the editing process all levels are checked and color bars can be sent through the NLE. I mean I'm not going to shoot blind, I know about exposure , levels and how to properly shoot with these cameras, I just don't really understand the importance of color bars on a monitor? Dslrs don;t even send them out like a traditional video camera anyways.
It's all about your starting point. If your monitor's colors are all out of whack, then you don't really know what you're shooting. In post, that means more color correction, especially if you've tweaked the camera's profile and have used an inaccurate monitor to judge the settings.
Another shortcoming of the DSLR for video production. Don't get me wrong... DSLRs can be used for amazing things, and I'm not discounting them as viable tools. I have a T2i, and I shoot with it quite a bit and love what I'm able to do with it. But this is just the kind of thing that distinguishes professional video cameras.
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vision_filmz
Carbonite Member
Great Information! Thank You as always for sharing your knowledge on the topic at hand.
Happy to help.
The other piece is what happens downstream. If you are not color correcting with an accurate broadcast monitor, you're also flying blind. The scopes will tell you if things are within legal limits, or how much contrast you have, but everything past that is a crap shoot. What you see on your monitor/computer screen may not look the same on another playback system. So, if you start with an inaccurate monitor in the field and proceed to color correct and grade on an inaccurate monitor, there's no telling what the video will look like after distribution.
Does this matter for straight-to-Internet videos? Maybe, maybe not. For broadcast and DVD/Blu-Ray distribution, it is crucial.
The other piece is what happens downstream. If you are not color correcting with an accurate broadcast monitor, you're also flying blind. The scopes will tell you if things are within legal limits, or how much contrast you have, but everything past that is a crap shoot. What you see on your monitor/computer screen may not look the same on another playback system. So, if you start with an inaccurate monitor in the field and proceed to color correct and grade on an inaccurate monitor, there's no telling what the video will look like after distribution.
Does this matter for straight-to-Internet videos? Maybe, maybe not. For broadcast and DVD/Blu-Ray distribution, it is crucial.