Field Production Monitors

Charles Papert · December 3rd, 2003, 05:39 PM

Wayne:

Knowing Panavision, they'd be more into designing a "bug" that read the height of the pedestal and the tilt of the camera, then motorizing the LCD mount and having it tilt automatically to maintain the appropriate viewing angle to the operator.

Then they'd package it into an oversized project box, put too many connectors on it and it wouldn't work half the time.

Things are not as they used to be with that company, huh?

Mike Rehmus · December 3rd, 2003, 05:46 PM

I find that my Directors like the Sony CRT much better than a LCD. They are used to judging images using a CRT and we can both look at the monitor at the same time and see the same image. The monitor resides in a PortaBrace which does have the viewing tunnel.

My Sony field monitor runs off a battery belt which I just drape on the tripod or it's stand (a PA speaker stand with a top platform). The monitor will run for about 3 hours or so on a single belt. Lots of places I have AC power available anyway so it's no issue at all.

I've not tried to balance out a LCD using color bars. Don't know why I haven't done that yet. I have a 17" Samsung HD TV monitor that is also my normal editing computer monitor. I'll drive it from a S-Video spigot (PIP) along with the computer display and see what it does.

I find this LCD, nice as it is with a good progressive scan input, just doesn't hold a candle to my JVC 14" NTSC monitor when judging video. The LCD doesn't work too well with Photoshop either come to think of it. Not at all like my LaCie electron Blue III computer monitor.

Don Berube · December 3rd, 2003, 11:36 PM

Wayne,

Wow, that sounds like an awesome gig! Very cool.

Sounds like you can use whichever monitor you desire, but I'm bumming that you haven't been impressed by any of the higher-end LCD's? No? I was hoping that there was something out there, even if the cost is $10K, not even from Astro?

I would look to people like you and Charles for this type of info since you are working with the best there is.

Would love to hear back from you when you have time regarding if there is anything up there in the high end LCD market for broadcast/ EFP professionals to use, regardless of the cost, to replace using a CRT.

So far, I have been getting by with three things: Sony PVM-8045Q with Hoodman attachment, PANASONIC/ NEBTEK NEB70XL with KATA LCD case and an IKEGAMI B&W viewfinder with Tiffen Tele-2X. In the studio Iv'e been using the Sony PVM-14M4U.

I am looking to add two new monitors, one for the field which can handle SDI and all the HDTV formats and perform like a CRT and one for the edit suite in the 14" range (I'll definitely go 20" if I can spring it) - I figure that the Sony PVM-L5 with SDI is the new minimum acceptable standard? Please feel free to elaborate if you are aware of something better.

Hoping all is well,

- don

Wayne Orr · December 3rd, 2003, 11:58 PM

"Things are not as they used to be with that company, huh?"

That's for sure. But I will say they have seen the handwriting on the wall, which puts them ahead of a lot of other companies who have been blind to what is happening with "digital cinema," or whatever you wish to call it. Same is true with a lot of people working in the business. They simply refuse to have anything to do with the new technologies, and a few years from now they will be complaining that they can't get any work. But that's another topic.

Sony is introducing a new line of professional lcd monitors. I have not had an opportunity to investigate them yet, and in fact, I don't know any facility that is using them. They should draw a lot of interest at next year's NAB. Expect them to cost dearly. I believe there is some mention of them in the current issue of Post Magazine.

Carlos E. Martinez · December 4th, 2003, 05:22 AM

<<<-- Originally posted by Wayne Orr :
Sony is introducing a new line of professional lcd monitors. I have not had an opportunity to investigate them yet, and in fact, I don't know any facility that is using them. They should draw a lot of interest at next year's NAB. Expect them to cost dearly. I believe there is some mention of them in the current issue of Post Magazine. -->>>

Yes, you are right.

A friend of mine mentioned the Sony LMD650, which is a 6.5" LCD type, and costs as much as their 8045Q: $1,270 from B&H.

Boland has some high brighness and SDI (optional) models, like:

http://www.bolandcom.com/ds/d104dTFDS.pdf

They are very pricey, at around $2,000. From what I could find in the web, these guys seem to be the ones with a larger line.

Pity their sales contact sucks, as they haven't acknowledge my mail yet. Perhaps someone from the US should call them and get more information: (800) 918-9090.

With such a complete line, it wouldn't be a surprise if they OEMed to companies like Panavision in the future.

Carlos E. Martinez

December 3rd, 2003, 05:39 PM	#16
Charles Papert Wrangler Join Date: Jan 2002 Location: Los Angeles, CA Posts: 6,810	Wayne: Knowing Panavision, they'd be more into designing a "bug" that read the height of the pedestal and the tilt of the camera, then motorizing the LCD mount and having it tilt automatically to maintain the appropriate viewing angle to the operator. Then they'd package it into an oversized project box, put too many connectors on it and it wouldn't work half the time. Things are not as they used to be with that company, huh? __________________ Charles Papert www.charlespapert.com

December 3rd, 2003, 05:46 PM	#17
Mike Rehmus Wrangler Join Date: May 2002 Location: Vallejo, California Posts: 4,049	I find that my Directors like the Sony CRT much better than a LCD. They are used to judging images using a CRT and we can both look at the monitor at the same time and see the same image. The monitor resides in a PortaBrace which does have the viewing tunnel. My Sony field monitor runs off a battery belt which I just drape on the tripod or it's stand (a PA speaker stand with a top platform). The monitor will run for about 3 hours or so on a single belt. Lots of places I have AC power available anyway so it's no issue at all. I've not tried to balance out a LCD using color bars. Don't know why I haven't done that yet. I have a 17" Samsung HD TV monitor that is also my normal editing computer monitor. I'll drive it from a S-Video spigot (PIP) along with the computer display and see what it does. I find this LCD, nice as it is with a good progressive scan input, just doesn't hold a candle to my JVC 14" NTSC monitor when judging video. The LCD doesn't work too well with Photoshop either come to think of it. Not at all like my LaCie electron Blue III computer monitor. __________________ Mike Rehmus Hey, I can see the carrot at the end of the tunnel!

December 3rd, 2003, 11:36 PM	#18
Don Berube Moderator Join Date: Mar 2002 Location: Boston, MA (travel frequently) Posts: 837	For Wayne & Charles Wayne, Wow, that sounds like an awesome gig! Very cool. Sounds like you can use whichever monitor you desire, but I'm bumming that you haven't been impressed by any of the higher-end LCD's? No? I was hoping that there was something out there, even if the cost is $10K, not even from Astro? I would look to people like you and Charles for this type of info since you are working with the best there is. Would love to hear back from you when you have time regarding if there is anything up there in the high end LCD market for broadcast/ EFP professionals to use, regardless of the cost, to replace using a CRT. So far, I have been getting by with three things: Sony PVM-8045Q with Hoodman attachment, PANASONIC/ NEBTEK NEB70XL with KATA LCD case and an IKEGAMI B&W viewfinder with Tiffen Tele-2X. In the studio Iv'e been using the Sony PVM-14M4U. I am looking to add two new monitors, one for the field which can handle SDI and all the HDTV formats and perform like a CRT and one for the edit suite in the 14" range (I'll definitely go 20" if I can spring it) - I figure that the Sony PVM-L5 with SDI is the new minimum acceptable standard? Please feel free to elaborate if you are aware of something better. Hoping all is well, - don __________________ DONALD BERUBE - noisybrain. Productions, LLC Director Of Photography/ Producer/ Consultant http://noisybrain.com/donbio.html CREATE and NETWORK with http://www.bosfcpug.org and also http://fcpugnetwork.org

December 3rd, 2003, 11:58 PM	#19
Wayne Orr Major Player Join Date: Dec 2002 Location: Northridge Ca Posts: 734	"Things are not as they used to be with that company, huh?" That's for sure. But I will say they have seen the handwriting on the wall, which puts them ahead of a lot of other companies who have been blind to what is happening with "digital cinema," or whatever you wish to call it. Same is true with a lot of people working in the business. They simply refuse to have anything to do with the new technologies, and a few years from now they will be complaining that they can't get any work. But that's another topic. Sony is introducing a new line of professional lcd monitors. I have not had an opportunity to investigate them yet, and in fact, I don't know any facility that is using them. They should draw a lot of interest at next year's NAB. Expect them to cost dearly. I believe there is some mention of them in the current issue of Post Magazine.

December 4th, 2003, 05:22 AM	#20
Carlos E. Martinez Trustee Join Date: Oct 2003 Location: Rio de Janeiro, Brasil Posts: 1,138	<<<-- Originally posted by Wayne Orr : Sony is introducing a new line of professional lcd monitors. I have not had an opportunity to investigate them yet, and in fact, I don't know any facility that is using them. They should draw a lot of interest at next year's NAB. Expect them to cost dearly. I believe there is some mention of them in the current issue of Post Magazine. -->>> Yes, you are right. A friend of mine mentioned the Sony LMD650, which is a 6.5" LCD type, and costs as much as their 8045Q: $1,270 from B&H. Boland has some high brighness and SDI (optional) models, like: http://www.bolandcom.com/ds/d104dTFDS.pdf They are very pricey, at around $2,000. From what I could find in the web, these guys seem to be the ones with a larger line. Pity their sales contact sucks, as they haven't acknowledge my mail yet. Perhaps someone from the US should call them and get more information: (800) 918-9090. With such a complete line, it wouldn't be a surprise if they OEMed to companies like Panavision in the future. Carlos E. Martinez