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Recommendations for on set Monitor

Richard Foster

Richard Foster

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I am looking for a good on set monitor for judging focus and reviewing performance without spending a ton of $. Suggestions will be mightily appreciated. This is for a single RED MX feature shot at practical locations, mostly interiors.

Also can anyone direct me to information on setting up the "look" on the monitor? Obviously I understand that all the information is in the RAW file but setting up a "one light" look for the monitor will be useful for me as I will be both directing and DP-ing this show.

Thanks in advance. These forums are excellent.
 
Hi Richard,

The first question is what is "tons of $" to you? A good on-set monitor for judging focus and reviewing performance is the Panasonic BT-LH1710 or 1760. The great monitors are the Cinetal Cinemage monitors but that's "tons of $" to me.

You can try things like Iridis Speedgrade Onset to grab a frame, create a "look" and then send that to the monitor. I think that works with the Cinetal monitors. You can also buy Filmlight's Truelight Onset breakout box but that's also pricey just to do a one-light on a 720 signal.

You can also set a look in the camera by adjusting the contrast and saturation but you have to know that your RAW data is still fine and that shadows and highlights aren't too drastic.

This is a problem in the fashion world because some photographers that are trying to shoot with a cinema camera can't grasp the fact that the RAW, flat data can be worked in POST. They want to see beautiful motion with a "retouched" color applied as they work.

Alan Balian

VP of Technical Services
Gloss59
Pier 59 Studios
Chelsea Piers Pier 59 New York, NY 10011
P: 212.994.9221
alan@gloss59.com
 
albeezee said:
This is a problem in the fashion world because some photographers that are trying to shoot with a cinema camera can't grasp the fact that the RAW, flat data can be worked in POST. They want to see beautiful motion with a "retouched" color applied as they work.


alan@gloss59.com
Click to expand...

Really? Dont they shoot RAW with a jpeg sidekick?
 
Yes I realise that Richard, i was questioning the fact that anyone capable of doing a fashion shoot would not understand the concept of shooting RAW while viewing the appropriate jpeg to judge the shot. If a 'photographer' doesn't understand the concept of RAW I'd suggest he shouldn't be taking somebodies money. albeezee's comment seemed a little ....surprising?
 
Go for the Carrion monitor. It is hands down the best deal anywhere in the world. They are so lightweight, they are practically invisible. And they use no power whatsoever. And they need no case and they can be mounted anywhere using only your imagination. They have no mass at all because THEY DON'T EXIST. But you still have to pay for them...
 
Richard Foster said:
Also can anyone direct me to information on setting up the "look" on the monitor? Obviously I understand that all the information is in the RAW file but setting up a "one light" look for the monitor will be useful for me as I will be both directing and DP-ing this show.
Click to expand...
Whatever monitor you wind up using, you should coordinate with your edit suite and your post house (final color-correction location) to make sure all the monitors are in the same ballpark. Otherwise, the LUTs you're creating may wind up looking radically different later on.

Having an experienced D.I.T. is mandatory for situations like this. The Panasonic BT's are what I've been seeing most often on shoots this year, and they can at least get close to a reasonable set up.
 
Richard,
I wouldn't waste a lot of time with this. I would buy the Panasonic BT-LH1710, the 1760 has some issues that you don't want to mess with and the 1710 is the most common monitor on set.

Next, go to Filmtools and buy the 100Vesa mount with Baby/Jr mount $130 http://www.filmtools.com/vesa-mount-with-baby-receiver.html

B&H sells a plexi safety screen that protects the monitor and it's well worth the $84.
https://secure.bhphotovideo.com/c/s...BT-LH1700+-+PABTYU17PLX&N=0&InitialSearch=yes

I have 2 of these and wouldn't be without them. They are great for client monitors as well. I have 3 other Marshall monitors that float around in the field but the Panasonics are the best for reference.
 
Agreed... Go for Panny's 17" and you won't regret at all.
Cheers,
 
Lee Dashiell said:
Richard,
the 1760 has some issues that you don't want to mess with
Click to expand...

Hi Lee, what are the issues with the Panasonic 1760 ? I have seen plenty of these out there so what should I see that they are not doing?

Thanks for your help !

Cheers, Tim.
 
Lee Dashiell said:
...I would buy the Panasonic BT-LH1710, the 1760 has some issues that you don't want to mess with and the 1710 is the most common monitor on set.
Click to expand...

Seems abit on the large/heavy side for run and gun type use... :(
Priced at $2,850 is reasonable for a quality monitor...but it's still up there..

http://www.bhphotovideo.com/bnh/controller/home?O=&m=Y&IC=PABTLH1710&A=RetrieveSku&Q=#reviews

Panasonic BT-LH1710

Dimensions (WxHxD) 16.9 x 12.2 x 3.3" (43 x 31 x 8.3cm) Weight 15.7 lbs (7.1kg)
 
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Richard asked about "on set monitors" which is exactly what the Panasonic 17's are. They are far from run and gun however they can be powered from AC or DC power in the field. The new 1760w has a different cooling system that draws air between the backlight and LCD where dust can settle between the two. It ends up looking like you have dust on your sensor but it's actually in the monitor. It's also around $1000 more than the 1710 which has been an absolute workhorse for us. I just bought another one and don't really think you can go wrong.

When it comes to run and gun monitors, there are dozens to consider. I have 3 different Marshall's that are ok. I would never really want to show them to a client but they are fine for our needs.
 
I love talking about the Eizo 232W monitor, but it is expensive (about $9,000). That said, it is the favorite monitor and featured at all REDucations classes, because it is that good. It too can be equipped with a vesa mount for use on a stand or custom monitor arm on your cart, but is totally at home in the grading suite.

Dell makes a 24" monitor Dell U2410, and it is inexpensive and good as a viewing monitor on set, and if you want a monitor to display the full RED menus (histogram and all), the Dell WFP 2408 is the ticket

To profile (not to be totally confused with calibration) the monitors, I use a spectrophotometer, by X-Rite. With this device I can zero out (linearize) my monitors, making them neutral, no color cast. Now I have a display that will show accuracy, and I'm not calibrating by eye (which is very faulty) as you would with a Panasonic. Many of us use a digital LCD projector for both showcasing and also in edit or grading. How often is your color incorrect? Why not calibrate/profile that too, it makes total sense. I use the same X-Rite device to calibrate any HD/2K/4K projector to perfection, after all is it not important to display your work in the best way?

The comment about fashion shooters using cinema cameras and expecting the look in camera is true, but most all fashion shooters have been shooting RAW for the past decade and are used to manipulating their images with RAW workflow software like Capture One or Lightroom after the shoot is over. A photo is taken, a look is created in one of those programs, and applied to the rest of the captures, and now the shooter can display a simulated final look to the client. Just as you can create a look in still photo programs, you can also create a look in RedCine X and import that look to the camera, via SD card. Capture a clip bring it into RCX, create your look, then export that look for camera.


albeezee said:
The first question is what is "tons of $" to you? A good on-set monitor for judging focus and reviewing performance is the Panasonic BT-LH1710 or 1760. The great monitors are the Cinetal Cinemage monitors but that's "tons of $" to me.

You can try things like Iridis Speedgrade Onset to grab a frame, create a "look" and then send that to the monitor. I think that works with the Cinetal monitors. You can also buy Filmlight's Truelight Onset breakout box but that's also pricey just to do a one-light on a 720 signal.

You can also set a look in the camera by adjusting the contrast and saturation but you have to know that your RAW data is still fine and that shadows and highlights aren't too drastic.

This is a problem in the fashion world because some photographers that are trying to shoot with a cinema camera can't grasp the fact that the RAW, flat data can be worked in POST. They want to see beautiful motion with a "retouched" color applied as they work.

Alan Balian

VP of Technical Services
Gloss59
Pier 59 Studios
Chelsea Piers Pier 59 New York, NY 10011
P: 212.994.9221
alan@gloss59.com
Click to expand...
 
Last edited:
I second the Flanders Scientific/FSI monitors. I have worked with a lot of Panasonic BT monitors but the FSI wins out easily to me--way better scopes, more resolution, higher contrast ratio, excellent angle of view and easy to navigate menus and many other features that come standard, and they're always great and easy to reach on the phone. The 1770 with the Petrol bag is a fantastic and quick way to work. Oh yeah, and they're lighter and cheaper. What's not to like?

The only argument against them I've heard is that the Panasonics are basically industry standard and what people are used to. But, to me... better is better and cheaper is cheaper.
 
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