**Note from the author: if you enjoy this article, please follow me or this publication for more video production and marketing related content.**

**作者注：如果您喜歡本文，請關注我或此出版物以獲取更多與視頻制作和營銷相關的內容。**

I will start off by saying I am a jack of all trades when it comes to video. I’m a video editor, producer, colorist, videographer (DP), gaffer, grip, you name it. I do not consider myself at the Hollywood level of expertise in any of those skills, but I do apply all of them weekly and effectively on commercial shoots for local businesses.

首先，我會說我是視頻領域的佼佼者。 我是一名視頻編輯器，制片人，調色師，攝像師(DP)，gaffer，握柄，您都這么稱呼。 在這些技能中，我并不認為自己具有好萊塢的專業水準，但我確實每周都有效地將它們應用到本地企業的商業拍攝中。

Why do I share this? Picking a monitor for video editing is dependent on your experience, planned use, and level of professional work you are doing. The advice in this article applies to most people delivering online videos, but not to professional colorists doing correction work for cinema or TV broadcast. Monitors used for cinema and TV broadcast will set you back at least a few thousand dollars and require additional hardware to be installed in your computer like a Blackmagic Decklink for a clean SDI signal direct to your expensive monitor. Not sure what that last sentence was? Good, you are in the right place and this article is for you.

我為什么要分享這個？ 選擇監視器進行視頻編輯取決于您的經驗，計劃的使用以及您正在從事的專業工作的水平。 本文中的建議適用于大多數提供在線視頻的人，但不適用于為電影或電視廣播進行校正工作的專業調色師。 用于電影和電視廣播的監視器將使您損失至少幾千美元，并且需要在計算機中安裝其他硬件，例如Blackmagic Decklink，才能將干凈的SDI信號直接發送到昂貴的監視器。 不確定最后一句話是什么？ 好，您來對地方了，本文適合您。

I will first outline the primary differences between professional-level monitors vs consumer, my thought process for finding a monitor for a jack of all trades person like myself, and my high-level recommendations on what to look for.

首先，我將概述專業級顯示器與消費者之間的主要區別，尋找適合像我這樣的所有行業人士的顯示器的思考過程，以及我對要尋找的東西的高級建議。

專業配色師標準品和顯示器 (Professional Colorist Standards & Monitors)

The average professional colorist is editing for two intended distribution channels. One channel being any form of broadcast over cable, satellite, or antenna. This could also include tv shows distributed online. The second channel is distribution in theaters. The distinction is important because each of the two channels have different color gamut standards.

一般的專業調色師正在為兩個預期的分銷渠道進行編輯。 一個頻道是通過電纜，衛星??或天線進行的任何形式的廣播。 這可能還包括在線分發的電視節目。 第二個渠道是在劇院上映。 區別很重要，因為兩個通道中的每個通道都有不同的色域標準。

A color gamut is the range of colors that are visible or displayable. Cinema uses DCI-P3 and broadcast uses Rec. 709. DCI-P3 can display a much wider range of colors while Rec. 709 is an older standard that is more narrow but tried and tested for use across many TVs and monitors.

色域是可見或可顯示的顏色范圍。 電影使用DCI-P3，廣播使用Rec。 709. DCI-P3可以顯示范圍更廣的顏色，而Rec。 709是一種較舊的標準，它的適用范圍更窄，但已在許多電視和顯示器上使用并經過了測試。

The diagram above effectively shows how many more colors DCI-P3 can show compared to Rec. 709. Rec. 2020 can show even more, but we won’t discuss it here. DCI-P3 has the ability to show more shades of green and some additional red/yellow shades when compared to Rec. 709.

上圖有效顯示了DCI-P3與Rec。相比可以顯示多少種顏色。 709.建議 2020年可以顯示更多，但我們在這里不再討論。 與Rec。3相比，DCI-P3能夠顯示更多的綠色陰影和一些其他的紅色/黃色陰影。 709。

A professional colorist will buy a monitor that is specifically designed for the color space they are working in. If all their work is broadcast, they will buy a monitor specifically designed to 100% match the Rec.709 color space with high accuracy. If they work in cinema, instead of buying a monitor, they will buy a DCI-P3 projector to further mimic how the video will be consumed and at the correct color gamut.

專業的調色師將購買專門為其工作的色彩空間設計的顯示器。如果廣播他們的所有作品，他們將購買專為100％與Rec.709色彩空間匹配的高精度顯示器。 如果他們在電影院工作，他們將購買DCI-P3投影儀，而不是購買顯示器，以進一步模擬視頻的消費方式和正確的色域。

These monitors come designed for a specific color space, with production level connections, and a heftier price tag.

這些顯示器專為特定的色彩空間而設計，具有生產級別的連接和更高的價格標簽。

消費者監控器標準 (Consumer Monitor Standards)

Consumer monitors introduce an additional standard called sRGB. sRGB has the same color space as Rec. 709, but uses a different gamma. Both sRGB and Rec. 709 have a non-linear curve for displaying luminance values for a specific color. This may sound confusing at first, but the human eye is non-linear and can detect more shades of a dark color than more shades of bright white. A gamma function is how color spaces encode and decode color information in a non-linear fashion to make the best use of what we can see.

消費者監視器引入了稱為sRGB的附加標準。 sRGB與Rec。具有相同的色彩空間。 709，但使用其他伽瑪。 sRGB和Rec。 709具有用于顯示特定顏色的亮度值的非線性曲線。 乍一看這可能讓人感到困惑，但是人眼是非線性的，可以檢測到更多的深色陰影，而不是更多的亮白色陰影。 伽瑪函數是色彩空間如何以非線性方式編碼和解碼色彩信息，以充分利用我們所看到的內容。

For this reason, color spaces were designed to match how people perceive color, but also to match technology at the time. sRGB was developed in 1996 for computers and the internet during a time when older displays also had a limit on the type of colors they could display. The non-linear curve is therefore similar, but different than Rec. 709 and designed for computers. Regardless of the history, it has become the standard for computer, web, mobile, and some printing applications (Photography typically uses AdobeRGB and many printing processes use CMYK).

因此，色彩空間旨在匹配人們對色彩的感知方式，同時也匹配當時的技術。 sRGB是在1996年為計算機和互聯網開發的，當時較老的顯示器還限制了它們可以顯示的顏色類型。 因此，非線性曲線是相似的，但不同于Rec。 709，專為計算機而設計。 無論歷史如何，它已成為計算機，Web，移動和某些打印應用程序的標準(照相通常使用AdobeRGB，許多打印過程使用CMYK)。

所有這些標準如何一起工作？ (How Do All These Standards Work Together?)

In short, multiple standards have created a mess that don’t always work well together. There are at least 7 standards that are commonly used, but many more.

簡而言之，多種標準造成了混亂局面，這些混亂局面往往無法很好地配合。 至少有7個常用標準，但還有更多。

Displaying Rec. 709 on a DCI-P3 display can make the image look overly saturated. Displaying Rec. 709 on an sRGB display can make the footage look slightly washed out.

顯示記錄 DCI-P3顯示屏上的709可能會使圖像看起來過于飽和。 顯示記錄 sRGB顯示屏上的709可以使素材看起來有些褪色。

Additionally, companies like Apple are now releasing mobile phones and computers with DCI-P3 displays which adds uncertainty to the future of sRGB for computers and what “standard” is really a standard anymore.

此外，像Apple這樣的公司現在正在發布具有DCI-P3顯示屏的手機和計算機，這為計算機的sRGB的未來增加了不確定性，什么“標準”真正成為了標準。

撓頭？ 對應該使用什么感到困惑？ (Scratching Your Head? Confused About What You Should Use?)

You are not alone. The basic rule of thumb is to edit in the color space you expect to deliver. For example, if you are delivering content for broadcast you would edit in Rec. 709 and calibrate your monitor to the Rec. 709 standard. Same with cinema, you would edit in DCI-P3 with a DCI-P3 display.

你不是一個人。 經驗法則是在您希望提供的色彩空間中進行編輯。 例如，如果您要交付內容進行廣播，則可以在Rec。 709并將您的顯示器校準到Rec。 709標準。 與電影院一樣，您將在帶有DCI-P3顯示屏的DCI-P3中進行編輯。

When color correcting, you can only control your editing environment and the best way to do that is to pick a color standard and ensure your monitor is accurate to that standard. You can’t control the color accuracy of someone's TV or computer.

進行色彩校正時，您只能控制您的編輯環境，而最好的方法是選擇一種色彩標準，并確保您的顯示器符合該標準。 您無法控制某人的電視或計算機的色彩準確性。

Where it gets a little less clear is if you are delivering content for the internet on computers and mobile devices. Some devices now have DCI-P3 displays, most have sRGB, but you could also rely on broadcast Rec. 709 as a long time tested standard. If you want to play it safe, I recommend editing and calibrating to Rec. 709. sRGB is the same color space just with a different gamma curve. Consumers also typically have the brightness and contrast of their screens maxed out so any risks of an image looking slightly washed out are usually unfounded.

不清楚的地方是您是否要在計算機和移動設備上交付Internet內容。 現在，有些設備具有DCI-P3顯示器，大多數設備具有sRGB，但是您也可以依靠廣播Rec.3。 709作為長期測試的標準。 如果您想安全播放，我建議您對Rec。進行編輯和校準。 709. sRGB是相同的色彩空間，只是具有不同的伽瑪曲線。 消費者通常還可以使屏幕的亮度和對比度最大化，因此通常沒有任何圖像看起來略微被洗掉的風險。

Additionally, you can buy a wide gamut monitor that is capable of displaying all of the color spaces discussed here.

此外，您可以購買一個能夠顯示此處討論的所有色彩空間的寬色域監視器。

購買具有99-100％sRGB且具有寬色域功能的顯示器 (Buy a Monitor with 99–100% sRGB with Wide Gamut Capabilities)

This is where my advice might deviate from a professional colorist. As I previously mentioned, a professional colorist would have a specific display that’s designed perfectly for their color space. If you are like me, most of your clients are displaying their videos on their website or in Facebook ads that get shown on mobile devices. Given the unpredictability of what device a consumer might be on, the best monitor to buy is one that helps you simulate a few different color standards, but maybe isn’t the most accurate monitor money can buy because it isn’t purpose-built for one standard.

在這里，我的建議可能會偏離專業的調色師。 正如我前面提到的，專業的調色師將擁有專門針對其色彩空間設計的特定顯示器。 如果您像我一樣，大多數客戶都會在其網站上或在移動設備上展示的Facebook廣告中顯示他們的視頻。 考慮到消費者可能會使用哪種設備，因此，購買最好的顯示器是可以幫助您模擬幾種不同顏色標準的顯示器，但并不是錢可以買到的最準確的顯示器，因為它不是專門為購買而設計的一個標準。

At a minimum, you need to buy a monitor that can hit 99–100% of the sRGB color space. Some cheaper monitors can only display 92% or 95% which means you won’t be seeing all the colors correctly and some shades will be missing. If you are delivering content online, you need to make sure your display is showing as much of the sRGB color space as possible so that you have the best chance of color correcting content to look great on many displays.

您至少需要購買一臺可以達到sRGB顏色空間99–100％的顯示器。 一些較便宜的顯示器只能顯示92％或95％，這意味著您將無法正確看到所有顏色，并且某些陰影將丟失。 如果要在線交付內容，則需要確保顯示器顯示的sRGB色彩空間盡可能多，這樣您就可以最大程度地進行色彩校正，使其在許多顯示器上看起來都很好。

However, you can spend a bit more and purchase a monitor that can display more than just sRGB. For video, you can find displays that show anywhere from 80–100% of the DCI-P3 color space. The DCI-P3 color space is bigger than sRGB which means you can calibrate it for both depending on your project.

但是，您可以花更多的錢購買可以顯示更多sRGB信息的顯示器。 對于視頻，您可以找到在DCI-P3顏色空間的80％至100％之間顯示的顯示。 DCI-P3色彩空間大于sRGB，這意味著您可以根據項目對它們進行校準。

寬色域監視器的好處 (Benefits of a Wide Gamut Monitor)

For the type of content I deliver, a wide gamut display lets me primarily edit in Rec. 709, but also test how my finished video will appear on an sRGB and DCI-P3 display.

對于我提供的內容類型，廣泛的色域顯示使我可以主要在Rec。中進行編輯。 709，還可以測試完成的視頻在sRGB和DCI-P3顯示器上的顯示方式。

Have you ever exported a video and then viewed it on your phone only to be surprised at how different the image looks? That was a problem I was consistently having. As I mentioned above, you can only control what you can control, but I still wanted to get an idea of how bad or good my finished videos might look on a different color space display. If something looks way off, I might have room to adjust some contrast or exposure in a clip.

您是否曾經導出視頻然后在手機上觀看過，卻對圖像的外觀感到驚訝？ 這是我一直遇到的問題。 如上所述，您只能控制自己可以控制的內容，但我仍然想了解我完成的視頻在不同的色彩空間顯示器上看起來有多好或不好。 如果看起來有些不對勁，我可能有空間調整片段中的對比度或曝光度。

With DCI-P3 displays now being included in mobile devices, the future standards may also change in the not too distant future. Investing in a wider gamut display also ensures you are future-proofed for a change in internet standards if one comes.

隨著DCI-P3顯示器現在已包含在移動設備中，未來的標準在不久的將來也可能會發生變化。 投資更廣泛的色域顯示還可以確保您適應未來的互聯網標準(如果有的話)。

摘要—對于Web，在Rec。中編輯。 709并使用寬色域監視器跨sRGB和DCI-P3進行測試 (Summary — For Web, Edit in Rec. 709 and Test Across sRGB and DCI-P3 Using a Wide Gamut Monitor)

Again, you can only control what’s in your editing environment. That means you need to maintain color management of the standard you are using, why you are using it, and ensuring your monitor is calibrated for that color space.

同樣，您只能控制編輯環境中的內容。 這意味著您需要維護所使用標準的顏色管理，使用原因，并確保已針對該顏色空間對顯示器進行了校準。

For web content, edit in Rec. 709 (which is the default timeline in Adobe Premiere Pro), color correct in Rec. 709, and review on a Rec. 709 monitor. When your project is done, adjust your monitors calibration to DCI-P3 and sRGB to review the potential impact to your edit. I also recommend continuing to check your video across common devices like an iPhone or iPad.

對于Web內容，在Rec。中編輯。 709(這是Adobe Premiere Pro中的默認時間線)，在Rec。 709，并在Rec。 709顯示器。 項目完成后，將顯示器的校準調整為DCI-P3和sRGB，以查看對編輯的潛在影響。 我還建議繼續在iPhone或iPad等常見設備上檢查視頻。

校準注意事項...執行 (A Note on Calibration…Do it)

No matter what display you buy, you need to calibrate it with a calibration tool like the X-Rite ColorMunki (Click Here). Factory calibration is not accurate enough and it does not account for ambient light in your workspace. A calibration tool also helps you recalibrate your display between different colorspaces.

無論您購買什么顯示器，都需要使用X-Rite ColorMunki之類的校準工具進行校準( 單擊此處 )。 出廠校準不夠準確，并且無法考慮工作空間中的環境光。 校準工具還可以幫助您在不同色彩空間之間重新校準顯示。

For help calibrating, this article is a great resource: Calibrating Displays For Color Accuracy

對于校準的幫助，本文非常有用： 校準顯示器的色彩精度

顯示建議 (Display Recommendations)

These recommendations are based on my own personal budget and research to stay below $1,000. New products are constantly coming out, but these are just a few options. I ended up decreasing my budget so the one I purchased is what I felt to be the most affordable with a decently wide color gamut.

這些建議是根據我自己的個人預算和研究得出的，以保持在$ 1,000以下。 新產品不斷涌現，但這只是一些選擇。 我最終減少了預算，因此我購買的預算是我覺得最實惠的色域。

Low Cost:

低成本：

1. What I Bought — $350 Samsung U28UR55 (4k — 90% DCI-P3 Coverage & 99% sRGB): Click Here

   我所買的— $ 350三星U28UR55(4k — 90％DCI-P3覆蓋率和99％sRGB)： 單擊此處

Mid-High Cost:

中高成本：

1. Dell Ultrasharp 27" 4k (100% AdobeRGB, 100% sRGB, 100% Rec. 709, 97.7% DCI-P3 and 76.9% Rec. 2020) : Click Here

   Dell Ultrasharp 27“ 4k(100％AdobeRGB，100％sRGB，100％Rec.709、97.7％DCI-P3和76.9％Rec.2020)： 單擊此處

2. Viewsonic VP2785 (4k 99% Adobe RGB ,96% DCI-P3, 100% Rec. 709): Click Here

   Viewsonic VP2785(4k 99％Adobe RGB，96％DCI-P3，100％Rec.709)： 單擊此處

Check out our latest blog post “Adapting In-Person Events to Live Streams is a 2020 Marketing Survival Strategy”

查閱我們最新的博客文章“使直播中的個人事件適應是2020年的營銷生存策略”

Visual Captive is a Minneapolis video production company. We specialize in serving mid-size businesses looking for more growth through visual storytelling. Our core services span pre-production to post-production.

Visual Captive是一家明尼阿波利斯視頻制作公司。 我們專注于為中型企業提供服務，以通過視覺講故事來尋求更多增長。 我們的核心服務涵蓋從生產前到生產后的過程。

Check out our website: www.visualcaptive.com

查看我們的網站： www.visualcaptive.com

Find us on Instagram: @visual_captive

在Instagram上找到我們： @visual_captive