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**作者注：如果您喜欢本文，请关注我或此出版物以获取更多与视频制作和营销相关的内容。**

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，我会说我是视频领域的佼佼者。 我是一名视频编辑器，制片人，调色师，摄像师(DP)，gaffer，握柄，您都这么称呼。 在这些技能中，我并不认为自己具有好莱坞的专业水准，但我确实每周都有效地将它们应用到本地企业的商业拍摄中。

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.

我为什么要分享这个？ 选择监视器进行视频编辑取决于您的经验，计划的使用以及您正在从事的专业工作的水平。 本文中的建议适用于大多数提供在线视频的人，但不适用于为电影或电视广播进行校正工作的专业调色师。 用于电影和电视广播的监视器将使您损失至少几千美元，并且需要在计算机中安装其他硬件，例如Blackmagic Decklink，才能将干净的SDI信号直接发送到昂贵的监视器。 不确定最后一句话是什么？ 好，您来对地方了，本文适合您。

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，我将概述专业级显示器与消费者之间的主要区别，寻找适合像我这样的所有行业人士的显示器的思考过程，以及我对要寻找的东西的高级建议。

专业配色师标准品和显示器 (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.

一般的专业调色师正在为两个预期的分销渠道进行编辑。 一个频道是通过电缆，卫星​​或天线进行的任何形式的广播。 这可能还包括在线分发的电视节目。 第二个渠道是在剧院上映。 区别很重要，因为两个通道中的每个通道都有不同的色域标准。

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.

色域是可见或可显示的颜色范围。 电影使用DCI-P3，广播使用Rec。 709. DCI-P3可以显示范围更广的颜色，而Rec。 709是一种较旧的标准，它的适用范围更窄，但已在许多电视和显示器上使用并经过了测试。

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.

上图有效显示了DCI-P3与Rec。相比可以显示多少种颜色。 709.建议 2020年可以显示更多，但我们在这里不再讨论。 与Rec。3相比，DCI-P3能够显示更多的绿色阴影和一些其他的红色/黄色阴影。 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.

专业的调色师将购买专门为其工作的色彩空间设计的显示器。如果广播他们的所有作品，他们将购买专为100％与Rec.709色彩空间匹配的高精度显示器。 如果他们在电影院工作，他们将购买DCI-P3投影仪，而不是购买显示器，以进一步模拟视频的消费方式和正确的色域。

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

这些显示器专为特定的色彩空间而设计，具有生产级别的连接和更高的价格标签。

消费者监控器标准 (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.

消费者监视器引入了称为sRGB的附加标准。 sRGB与Rec。具有相同的色彩空间。 709，但使用其他伽玛。 sRGB和Rec。 709具有用于显示特定颜色的亮度值的非线性曲线。 乍一看这可能让人感到困惑，但是人眼是非线性的，可以检测到更多的深色阴影，而不是更多的亮白色阴影。 伽玛函数是色彩空间如何以非线性方式编码和解码色彩信息，以充分利用我们所看到的内容。

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，色彩空间旨在匹配人们对色彩的感知方式，同时也匹配当时的技术。 sRGB是在1996年为计算机和互联网开发的，当时较老的显示器还限制了它们可以显示的颜色类型。 因此，非线性曲线是相似的，但不同于Rec。 709，专为计算机而设计。 无论历史如何，它已成为计算机，Web，移动和某些打印应用程序的标准(照相通常使用AdobeRGB，许多打印过程使用CMYK)。

所有这些标准如何一起工作？ (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.

简而言之，多种标准造成了混乱局面，这些混乱局面往往无法很好地配合。 至少有7个常用标准，但还有更多。

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.

显示记录 DCI-P3显示屏上的709可能会使图像看起来过于饱和。 显示记录 sRGB显示屏上的709可以使素材看起来有些褪色。

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这样的公司现在正在发布具有DCI-P3显示屏的手机和计算机，这为计算机的sRGB的未来增加了不确定性，什么“标准”真正成为了标准。

挠头？ 对应该使用什么感到困惑？ (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.

你不是一个人。 经验法则是在您希望提供的色彩空间中进行编辑。 例如，如果您要交付内容进行广播，则可以在Rec。 709并将您的显示器校准到Rec。 709标准。 与电影院一样，您将在带有DCI-P3显示屏的DCI-P3中进行编辑。

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.

进行色彩校正时，您只能控制您的编辑环境，而最好的方法是选择一种色彩标准，并确保您的显示器符合该标准。 您无法控制某人的电视或计算机的色彩准确性。

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计算机和移动设备上交付Internet内容。 现在，有些设备具有DCI-P3显示器，大多数设备具有sRGB，但是您也可以依靠广播Rec.3。 709作为长期测试的标准。 如果您想安全播放，我建议您对Rec。进行编辑和校准。 709. sRGB是相同的色彩空间，只是具有不同的伽玛曲线。 消费者通常还可以使屏幕的亮度和对比度最大化，因此通常没有任何图像看起来略微被洗掉的风险。

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

此外，您可以购买一个能够显示此处讨论的所有色彩空间的宽色域监视器。

购买具有99-100％sRGB且具有宽色域功能的显示器 (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.

在这里，我的建议可能会偏离专业的调色师。 正如我前面提到的，专业的调色师将拥有专门针对其色彩空间设计的特定显示器。 如果您像我一样，大多数客户都会在其网站上或在移动设备上展示的Facebook广告中显示他们的视频。 考虑到消费者可能会使用哪种设备，因此，购买最好的显示器是可以帮助您模拟几种不同颜色标准的显示器，但并不是钱可以买到的最准确的显示器，因为它不是专门为购买而设计的一个标准。

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.

您至少需要购买一台可以达到sRGB颜色空间99–100％的显示器。 一些较便宜的显示器只能显示92％或95％，这意味着您将无法正确看到所有颜色，并且某些阴影将丢失。 如果要在线交付内容，则需要确保显示器显示的sRGB色彩空间尽可能多，这样您就可以最大程度地进行色彩校正，使其在许多显示器上看起来都很好。

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，您可以花更多的钱购买可以显示更多sRGB信息的显示器。 对于视频，您可以找到在DCI-P3颜色空间的80％至100％之间显示的显示。 DCI-P3色彩空间大于sRGB，这意味着您可以根据项目对它们进行校准。

宽色域监视器的好处 (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.

对于我提供的内容类型，广泛的色域显示使我可以主要在Rec。中进行编辑。 709，还可以测试完成的视频在sRGB和DCI-P3显示器上的显示方式。

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.

您是否曾经导出视频然后在手机上观看过，却对图像的外观感到惊讶？ 这是我一直遇到的问题。 如上所述，您只能控制自己可以控制的内容，但我仍然想了解我完成的视频在不同的色彩空间显示器上看起来有多好或不好。 如果看起来有些不对劲，我可能有空间调整片段中的对比度或曝光度。

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.

随着DCI-P3显示器现在已包含在移动设备中，未来的标准在不久的将来也可能会发生变化。 投资更广泛的色域显示还可以确保您适应未来的互联网标准(如果有的话)。

摘要—对于Web，在Rec。中编辑。 709并使用宽色域监视器跨sRGB和DCI-P3进行测试 (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.

同样，您只能控制编辑环境中的内容。 这意味着您需要维护所使用标准的颜色管理，使用原因，并确保已针对该颜色空间对显示器进行了校准。

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.

对于Web内容，在Rec。中编辑。 709(这是Adobe Premiere Pro中的默认时间线)，在Rec。 709，并在Rec。 709显示器。 项目完成后，将显示器的校准调整为DCI-P3和sRGB，以查看对编辑的潜在影响。 我还建议继续在iPhone或iPad等常见设备上检查视频。

校准注意事项...执行 (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.

无论您购买什么显示器，都需要使用X-Rite ColorMunki之类的校准工具进行校准( 单击此处 )。 出厂校准不够准确，并且无法考虑工作空间中的环境光。 校准工具还可以帮助您在不同色彩空间之间重新校准显示。

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

对于校准的帮助，本文非常有用： 校准显示器的色彩精度

显示建议 (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.

这些建议是根据我自己的个人预算和研究得出的，以保持在$ 1,000以下。 新产品不断涌现，但这只是一些选择。 我最终减少了预算，因此我购买的预算是我觉得最实惠的色域。

Low Cost:

低成本：

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

   我所买的— $ 350三星U28UR55(4k — 90％DCI-P3覆盖率和99％sRGB)： 单击此处

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)： 单击此处

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)： 单击此处

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

查阅我们最新的博客文章“使直播中的个人事件适应是2020年的营销生存策略”

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视频制作公司。 我们专注于为中型企业提供服务，以通过视觉讲故事来寻求更多增长。 我们的核心服务涵盖从生产前到生产后的过程。

Check out our website: www.visualcaptive.com

查看我们的网站： www.visualcaptive.com

Find us on Instagram: @visual_captive

在Instagram上找到我们： @visual_captive