Video Production Monitors

[amygalvin]

Disclaimer: I am not very knowledgeable about most of this. I have no training. I am a volunteer in our AV booth, running the video production with equipment I am not qualified to use. My husband and I are running the entire AV department with no training. We live stream to another church and many homes around the world.

We have a 3 chip Sony camera on a tripod, currently one (soon to be 2) Sony wall mounted 3 chip camera and a text overlay (using Mediashout) input from a computer ran through an Edirol V4.
We just picked up a preview unit with 3 screens for previewing the cameras, will be using another monitor for text overlay and we're currently using THE cheapest Coby tv to see the output.
I am looking for a monitor for the output to be able to make sure of what I am looking at. Of all the views of the output we have (streaming, archiving, etc) the colors vary and the worst (of course) is the Coby.
We have the tiny LCD on the stationary camera and the little preview screens that can be used to make sure the colors match.
What is typically used to monitor video production? The monitors I'm looking at through Sony are outrageously priced. A website recommended this: Capture CCTV LPL17W01 LCD Monitor
I don't know if that's the best option. I've never been in a studio besides ours. We're just trying to make the best with the limited knowledge we have.

[tdangelo]

Amy,
In a broadcast TV environment the monitors (or multiviewer) for the control room monitor wall are NOT used for critical evaluation of any source signal or even output/destinations. The reasons for this are many, but none the least the fact that (especially with individual monitors) it is difficult to get all the screens to match (given an identical signal let along different signals).

Cameras are typically matched at a video operator’s station (aka: Shader or DIT). This video operator’s station would typically have a waveform monitor, vectorscope, High Resolution – Color Critical video monitor and a router panel. As each camera is evaluated on the same waveform monitor, vectorscope, High Resolution – Color Critical video monitor via the router there is no problem with trying to match monitors to each other as the sole High Resolution – Color Critical video monitor is the only monitor that matters.

In some broadcast environments the video operator’s station is also used for Q/C of non-camera input sources and destination output signals. In other broadcast environments a second tier of Q/C equipment and labor is used. In that scenario the 2nd tier of Q/C would be handled by the Engineer-in-Charge.

A top of the line High Definition High Resolution – Color Critical video monitor can easily run as much as $30,000 USD (Google Sony BVM-E250 OLED).

For your application it seems that a decent quality program video monitor may be fine. These are not considered color critical (meaning color accurate) however if you route all your cameras or sources selectable to the monitor will at least be accurate as a relative comparison source to source.

Examples are Panasonic’s 17” BT-LH1710W which sells for about $2500 USD and or Panasonic’s 26” BT-LH2550 which sells for about $3500 USD.

[petereit]

The Flanders Scientific LM-1760W seems to be THE monitor of choice for folks that need a truly accurate view of the video they're working with.

[petereit]

BUT! Having said that, I'll admit that we use a collection of some of the cheapest on-sale HDTVs we bought at Sam's Club for our live monitors. We actually bought them to use in our nurseries, but during a recent remodeling project we...uh..."appropriated" them to use in our switching studio as our program, preview and CG monitors.

[petereit]

In my experience, the best way to make sure your cameras match is to get a 2'x4' white foam-core board from Hobby Lobby, turn on your sanctuary lights to the levels that you typically run them for preaching, have someone stand where your pastor typically stands and hold the foam-core whiteboard, zoom in your cameras tight on the foam-core and set your white-balance.

That fixes most camera color mismatch issues. After that, you just watch your finished product on whatever is the best monitor you have, note any perceived discrepancies (i.e. red seems a little hotter on Cam2 than Cam1) and make minor adjustments from week to week as necessary.

[tdangelo]

Originally Posted by amygalvin

Of all the views of the output we have (streaming, archiving, etc) the colors vary and the worst (of course) is the Coby.

As far as white balancing goes it is often helpful to carry around a chip chart (or if on a low budget, a white board) and a chip light (a Lowell Omni works well if the stage lighting is incandescent) to each camera getting the chart (or white board) to a close proximity (4-6') to each camera and paint or auto white balance each camera one at a time against the same chart and same light, using the same f-stop on each camera, filling the camera frame (fully) the same amount. Then have all cameras shoot the stage and adjust further from the that standardized starting point.

The reason for this approach is to start which the same objective standard. If you start on the stage there are many variables.

[rcourtney]

DSC Labs chip charts are expensive for most churches (and some stations!)

But you can make a useful chart to compare colors and grey levels.
Ask your local paint store for sample chips. Glue to TWO cards.
One is placed on stage for cameras, the other is used to hold next to
your monitor for adjustments. Match the cameras so they are all the same
then correct your monitor. Tweak the cameras again if needed.

Waveform monitors may be out of the picture for churches too!
Use you Zebras if camera has this function.

[grinner]

I just use consumer LCd screens these days. I fly by my scopes for specs so I just need a display. I still have old sony CRTs that I can't pay folks to haul away. lol

[petereit]

To me, it doesn't make a whole lot of sense to blow hours and hours calibrating cameras and spending thousands of dollars on the most scientifically precise monitors, when 99% of my viewers are viewing my product on whatever display was the cheapest on sale at Wal-mart or Best Buy.

Of course, when you're broadcasting in a market where most church programs look like they're being dubbed off 10-year-old VHS tapes, it's not too hard to stand out.

[grinner]

well said.
Things have changed. While everything I do is for broadcast, that's what my scopes are for. I'd rather have a little flat screen to monitor today than a hundred pound boat anchor that cost me more than a fine used car.