Quick Monitor Tutorial - moved.

[quarrel84@hotmail.com]

I originaly posted this by mistake in the HD forum, so have moved this here now. =P

I have done many hours of searching before posting this, and am still confused on several things about production/broadcast monitors. If anyone could help me with this I would appreciate it greatly, perhaps others have similar questions as well. Please be as specific as you can.

1) How exactly does a production/broadcast monitor differ from, say, a 20" Calibrated Apple Cinema Display - in an Editing Setup (Standard Definition)

2) In total, what is the exact purpose of a production/broadcast monitor, in contrast with normal TV sets and Computer Monitors.

3) I know that to output to a production/broadcast monitor, I need an output card such as Blackmagic or AJA Kona, but how expensive a version do I need and what additional accessories are necessary as well?

4) I am running Apple FCP & Shake on a G5, and shooting with a DVX and XL2.

Thanks to all in advance who would take the time to help me out.

 

[JwrFord]

I originaly posted this by mistake in the HD forum, so have moved this here now. =P

I have done many hours of searching before posting this, and am still confused on several things about production/broadcast monitors. If anyone could help me with this I would appreciate it greatly, perhaps others have similar questions as well. Please be as specific as you can.

1) How exactly does a production/broadcast monitor differ from, say, a 20" Calibrated Apple Cinema Display - in an Editing Setup (Standard Definition)

2) In total, what is the exact purpose of a production/broadcast monitor, in contrast with normal TV sets and Computer Monitors.

3) I know that to output to a production/broadcast monitor, I need an output card such as Blackmagic or AJA Kona, but how expensive a version do I need and what additional accessories are necessary as well?

4) I am running Apple FCP & Shake on a G5, and shooting with a DVX and XL2.

Thanks to all in advance who would take the time to help me out.

2) You can calibrate the production monitor. As you move a television it strays more and more from "true color". With a production monitor you can throw up a set of bars from the camera (defaulted user 1) and calibrate the monitor. Normally if I am not mistake as well production monitors have svideo and XLR ins as many computer monitors and Televisions do not. They will offer more durable hardware as well. I tried using a television set on our last shoot and it took forever to get an accurate focus due to the resolution.
So a monitor gives you a higher resolution (important for quick accurate focus and color)
Ability to easily calibrate the color when using bars
Durable Hardware
Offer XLR inputs Composite inputs and S video Inputs.
Proffessional monitor controls to properly calibrate.

 

[quarrel84@hotmail.com]

Excuse my lack of knowledge of this, but what is the significance and purpose of:

1) XLR inputs
2) Composite inputs
3) S Video inputs
4) Durable hardware (don't understand what you mean here)

Thanks again friend.

 

[Rush]

1) XLR inputs
2) Composite inputs
3) S Video inputs
4) Durable hardware (don't understand what you mean here)

Hi, let me see if I can help:

1) XLR input is a professional audio connection, has 3-pins inside and a locking mechanism to keep it from coming off the device you connect it to. You can use that feature on a monitor if you need to output sound from a source and listen through the monitor's speakers. Most people however use headphones or pro-sound amps anyhow, but that is a useful trait.
2) Composite input is standard video input, just like the RCA inputs on your VCR, except they will probably have BNC jacks (another locking mechanism but for video not audio) and you can convert it to RCA using a $3 adapter.
3) S Video input is the same as SuperVHS input, or Y/C, it is a superior video output/input that carries more information and resolution than composite video.
4) Durable hardware means it is less likely to break during long, repeated usage. Also it is less likely to break if the director bangs on it when he or she gets excited about a great shot Production monitors are made like that, consumer are not.