production monitor

avr

avr

Well-known member
Hello to all. Have I decided to buy a monitor of production of 9 " (¿CRT?).
I would like to know which recommend me. Another aspect is if they are advisable the new monitors LCD or TFT to carry out functions of color calibration, focus, etc.

I have a Marshall LCD 4" " (V-LCD4L-Pro) and for an exact work it is not very reliable.
thanks
 
Re: production monitor

Hey, avr:

I have a JVC TM-910SU CRT monitor and love it. Great for both field use (haven't tried with a battery yet: just plugged in) and studio monitor reference use.

You can find them for about $600-$700.
 
Re: production monitor

The standard 9" CRT monitor is the Sony 9L3 for broadcast/production work (it's the replacement to the 8045Q).

In my opinion LCD's are not comparable yet.
 
Re: production monitor

Barry,

I was wondering if you've had any experience with the PVM-1220 CRT Sony Monitor. I tried searching the internet, but it's been long since discontinued and I'm able to find little information.

It's HUGE. Bigger than I thought as well. I was going to use it as a production monitor, taking it out to have control to get the exact shot I want out in the field on the fly. Short of sporting around a golf cart (a production actually gave me one to use once) it seems impossible.

The 9L3 looks like it would have been the solid monitor. Only I'd be happier if it had 550L resolution, or do they not come at that resolution at the 9" ? Also, the price tag seems hefty. I'll do some more research (though it is too late for me, at least until I can sell this monitor again) on cheaper, portable 8-9" field monitors that have:
underscan
RGB controls
550 line resolution
4:3 and 16:9 mode
perhaps: A/B inputs (for two cam interview setups)

I've actually used the 8045Q in a portabrace. I carried that, two bricks (Anton Bauer batts), and a Sachtler... occasionally a Spider Pod. Needless to say I made lots of muscles I didn't know I even had working as A/C on that shoot. And census says: even the 8045Q is awesome (I loved it) and it maybe even worth it to buy one used if you don't want to pay a four digit sum for the new 9L3s.

Final Inquiry: I've seen audio guys tend to favor rigging breakaway BNC cables for the audio. (The XLRs are a bit cumbersome in field/ docummentary situations when the cameraman has to suddenly cut and run.) What's the major difference in quality, if there are any, between a balanced XLR and a BNC. And are the balanced monster XLR cables worth getting? They are nearly four times the price.

Sorry for my long postings. I'm new. I have so many questions! First time dvx100a user, first time dvxuser-and both have been a groovy ride thus far. Thanks a bunch.

Cheers.
 
Re: production monitor

Okay, so this is what I found so far for best field production monitors:

Sony's PVM 9L3 as recommended by Barry has everything you can possibly need at 450 lines of resolution. The PVM PL2 would be the best bargain however; both support 16X9 and 4:3 settings whie also hosting all the standard in/out puts , underscan, etc.

Only difference: a $270 difference in price tag. The PL2's shortcomings lie with its 250 lines of resolution.

The Panasonic 9" Bt- 5915DA seems to be another viable option with underscan, 16x9, 14:3 priced at the moderate: $789.95.
 
Re: production monitor

I haven't seen anyone rigging breakaway audio cables from BNC... are they using separate BNC connectors for each of the XLR pins? If not, they're piping the whole audio signal down one wire, which is basically an unbalanced signal... it'd work, but you're opening yourself up to potential interference, ghosting, RF noise, etc.

I don't know of a 9" color monitor that does 550 lines. You can get plenty of B&W monitors that'll do that, but I don't know of any color monitors.

About the PVM-1220: a friend of mine has one, and it is astoundingly massive (and incredibly awesome). No, that wouldn't be a field monitor. I went with a BT-H1390Y because I thought it'd be small enough for field work, and large enough for desktop work. Nope: it's way too big for the field, and at 60 pounds, way too heavy and cumbersome.

I've been using DV Rack as a field monitor recently, which is an okay solution, but unfortunately it's limited to about 300 lines of resolution as well. Sure is light though -- the laptop is only 7 pounds.
 
Re: production monitor

Thanks Barry.

This site is amazing. You're amazing... and fast.

You were right, there are no monitors 9" or smaller that has 550 lines. The best I found was the PVM 9L3 Model at 450 Lines. If you ask B&H for best price for their PVM 9L2, they're selling the 250 line model (with pretty much most of the other features) at $729.95 before tax or shipping. Just curious, but how much di the BT-H1390Y set you bacK?

I just wish I wasn't an insomniac. I'm in NYC so I guess it's okay. How do professionals in our field have normal scheduled lives? I feel like an ER doctor or something coming home from a shoot after 50 hrs of continual waking working hours. (Well, of course minus the responsibilities of a life, the pay, the extra schooling...) But GOD I'm loving the people I'm working with, coming across. Point in example: this forum.

Barry, Jarred, and all those other guys who's posts I've been reading: let me voice out loud the appreciation I'm sure the lot of us are feeling. Cheers guys!
 
Re: production monitor

The 1390 was in the neighborhood of $1000.

And there is no such thing as a "normal schedule"... especially here in Vegas, we schedule shoots at all hours, casino shoots normally start at around 2:00 a.m. It's a very different life from a regular job...
 
Re: production monitor

Haha, indeed. ;D but don't you love it? Regularity should be reserved for dead folk and old people. I'm 20 yrs old, quit business school 8 credits shy graduating on the dean's list, and all I want to do is make movies. We gotta do what we gotta do.
 
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