If you go with SMPTE-C phosphors you'll be fine. It's almost impossible to tell the difference between brands, at this level, if they are properly calibrated. But most people don't want to spend that much.

If you go with production monitors rather than broadcast monitors, Sonys have a distinctive look because of the Trinitron tube, mask, phosphors etc.

Thanks Jeff - Actually it was your prior comments on the 'look' of Sony's that I had been thinking about. So just for semantics sake: Production monitors are those that afford calibration but are still P-22 and Broadcast are ones with SMPTE-C?

Thanks again,
Clayton

That is generally the way they break down. Panasonic even begins the product descriptions with "P" and "B" to make things a little easier. If I look at SMPTE-C monitors from JVC, Sony, and Panasonic the differences, if any, are very subtle. If you are not doing work for Network broadcast they are over kill and they are much more expensive to have calibrated when they do go out.

I think most people here would be best served with production monitors using P-22. When you compare JVC, Sony, and Panasonic again, the differences in picture are more noticeable for the reasons stated above. In these instances I prefer the look of Sony Production Monitors and I believe most viewers do also.

Please correct me if I am wrong but don't you only really need precise phosphor calibration if you are using several different monitors in your editing suite and need for them to react the same?

Thanks again Jeff - your educating me in several different areas this morning... ;)

The cost that Rob mentions for this Panasonic seems discounted enough that it rivals the prices of most production monitors that I am aware of (but again, have been looking mostly at Sony.) I suppose other than the cost of servicing/calibration it would be a no-brainer.

But, for any of those in the know, what should one expect in terms of frequency and cost for calibrating a monitor? Is this something one does preventively on an annual basis or only when there is a clear problem?

And is it also something one should anticipate and budget for in setting up even a new monitor from the factory?

My intended use is for contract, internal, and personal work that may or may not be broadcast (predominantly ends up duped to tape/DVD or exhibited live via projector) - I don't believe I have the strict requirements necessary in a predominantly broadcast environment but I would like to be sure that the monitor is working within specs for consistency and accuracy - thus the reason for a production/broadcast monitor in the first place... ; )

Sorry for the rambling - any feedback as to what one is getting themselves into when purchasing one of these higher end units would be appreciated.

Thanks,
Clayton

Wow !! Real Monitors are expensive
 

What's wrong with a good quality TV or Flat Screen Monitor?

I haven't done the conversion, but the price seems steep.

Monitors don't like being moved or transported much. In a true broadcast environment monitors are calibrated on an annual basis, unless something is noted in the interim. Under your situation i would try to have it calibrated every 2 to 3 years. But spend the bucks to have it done right (probably $400 to $500). If you can get SMPTE-C for the price of Sony P-22 I would go for it. But if it means buying used, be sure of the return policy and warranty. It might be a shock to spend $400 to have your new (used) monitor calibrated right off the bat.