If you’re used to previewing your video using the on-board camera LCD, you’re probably also used to the headaches of soft focus when you get the footage to post. Not to mention the giant handprint in what was supposed to be the money shot of the glass table. This things just don’t show up on that tiny low-res screen.
We get it. There are so many sexier items to spend your money on than a quality monitor. But at some point you’ll start to recognize that if you didn’t see it then, it won’t fix itself in post. (Well, unless you pay for a small army of visual effects artists, but they’re all busy working on the Star Wars franchise).
So what do you get when you fork out the cache for a dedicated monitor. Quite a few things actually. Let’s take a look at one of the more popular units: TVLogic’s 5.8” VFM-058W (catchy title, I know).
The most obvious benefit is the full-resolution, 1920×1080 5.8” screen. That gives you just enough space to resolve the full detail of the image without becoming obstructive on the set. That’s nice, but it’s not what makes the TVLogic great. It’s all the cool stuff that goes above and beyond.
How about an adaptive white-point system that automatically monitors the ambient temperature of the LCD panel and adjusts the monitor’s color accordingly to maintain consistency? Or focus assist to help nail your focus?
And then there are the scopes: a dedicated waveform, RGB parade and vectorscope for checking the color and contrast of your image.
Add to that three quick-programmable mode buttons (set them to recall your favorite functions) and a nice Max Brightness options to quickly see the image at its brightness in situations when a lot of spill light is hitting your camera.
Oh, and it also doubles as a signal converter – it can take your SDI input and spit it back out as an HDMI source.