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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 sp