Ned Flanders is a staple on The Simpsons, just hearing “Hi-dilly-ho, neighborinos,” you picture his silly mustached smile and green sweater – he’s iconic and simply awesome. The same could be said for the line of broadcast monitors from Flanders Scientific, Inc. The Atlanta based company hit the scene in 2007 and has developed a ton of outstanding displays over the years that professionals have grown to trust.
The Flanders’ product line offers monitors ranging in OLEDs and LEDs for rack or camera mount use and desktop configurations. Like the glasses, gray pants, and black shoes Ned wears each time he’s messing with Homer, the CM and BM series monitors come standard with fourteen selectable on-screen scopes. Two types of scopes can be displayed simultaneously on the screen, positioned six different ways across all inputs, including DVI. The scope and meters included are: luminance, vectorscope, RBG overaly, hue vector, RGB parade, GBR parade, YCbCr, YCbCr overlay, column, histogram, RGB histogram, color histogram, audio phase, two audio level meters, and a loudness meter.
Each CM and BM display is internet ready through ethernet with a RS-232 port for remote control. On the front of the monitors are five user assignable function keys and five user profile positions for advanced custom setup. These monitors have a ton of awesome features. Again, all standard: 3G/HD/SD-SDI, component, composite and DVI inputs, built in audio disembedder, selectable color spaces, selectable gamma, C-Log, DMB, S-Log and S-Log 2 viewing modes, selectable color temperature, live side by side monitoring, picture in picture, on screen alarms, time code display, standard and custom markers, safety broadcast, automatic format detection, anamorphic de-squeeze, CX-scale, camera record tally and on-screen tally, max sharpness, zoom, blue only, overscan, sub-window, 1:1 pixel mapping, monochrome mode, cross hatch, HV delay, lum coloring exposure check, focus assist, SD aspect ratio, full screen, black detail, 3G level B variable wipe, still frame, and DSLR zoom. Did they miss anything?
The feature we liked a bunch was the live side by side viewing. It’s not only accessible across any input, but across mixed formats as well which is perfect if you want to monitor two different camera sources or your iPad to play Candy Crush.
The line has ten models to choose from, with the CM420TD and BM090 being their latest. Each of the CM and BM series has the following inputs: 1xDVI (analog/digital), 2xBNC 3Gbps/Dual-Link/HD/SD-SDI, 1xBNC Composite, and 3xBNC Component (YPbPr/RGB). The outputs are identical minus the DVIs. There’s also the 7″ LM-0750W, which has a little different feature set you can read about below. Let’s take a quick tour of each model.
The 50″ monitor was designed for television and web-based productions, and features 12-bit video processing with a true 10-bit LCD panel (1.073 billion colors). The CM500TD has both 2D and 3D monitoring capabilities and is compatible with virtually any signal format: NTSC, PAL, HD, 2k, 4:4:4, and HYZ. Color management is handled by a 2nd generation Color Fidelity Engine with separate calibration and DIT LUT positions which can be used simultaneously – REC 709, SMPTE-C, EBU, and DCI-P3 color spaces are instantly selectable. The contrast ratio is 1600:1 with a 178 degree viewing angle and 250nit max luminance. The 47lb monitor comes in priced at $7,495.
The CM420TD is identical in feature set as the CM500TD, but carries a 42″ monitor size instead of 50″. For the smaller size your cost is $6,495.
The 24.5″ CM250 multi-format OLED has all the same features of the CM500TD with the exception of 3D capabilities. The 1920×1080 display has a slightly higher viewing angle of 179 degrees and is compatible with FSI’s rack mount kit. This CM250 is definitely considered the company’s flagship model and weighs 17lbs with a cost of $6,495.
The CM240 LCD favors those who truly want to reference grade LCD monitoring due to its ultra-wide gamut CCFL backlight. It provides great color matching for digital cinema project projectors and is a nice replacement for older CRT monitors. It comes in at 24″ and also has the option for rack mount. The max luminance is 350nit and like the rest of the CM and BM series it comes with the standard DC (24V) and AC (100~240 VAC) power connectors. For battery power, there are options for AB or V-mount plates. The price is $4,995.
This 16.5″ OLED monitor is also a 12bit processing, 10 bit panel with 42 watts of power weighing 11.3 lbs. FSI has included the rackmount kit on the CM172 and CM171 with its standard desktop stand. It boasts the optional battery plate for power and costs $7,955.
This 1920×1080 native HD LCD panel is another 12bit processing 10bit panel with a 1000:1 contrast ration and 178 degrees of viewing angle. The max luminance is 250nit and the light-weight monitor, which is 6.5lbs, has an RGB LED backlight. It costs $2,495.
The BM series are FSI’s 8 bit LCD panels with the BM230’s screen size at 23″. It has 12bit processing, 1000:1 contrast ratio, and a white LED backlight. 250nit is the maximum luminance and there’s an optional battery plate for power. The price is set at $2,995.
The smallest in the BM series, the BM210 is a 1920×1080 native HD screen at 21.5″. The monitor is a do-everything monitor: field use, editing, and basic broadcast video correction. It’s lightweight and more power efficient than many of the 17″ broadcast monitors out there. The BM210 has all the same features as the BM230, but it’s a little cheaper at $2,495.
This 9″ lightweight display is color critical. It truly is a smaller version of FSI’s fully loaded large format monitors in 8bit form. It has the fourteen selectable scopes like all the CM and BM series, and comes with a power efficient LED backlight for long-term reliability. The BM090 can be rack mounted in single or dual configuration. It has 1/4-20 threaded mounts on the top and bottom for camera mounting as well. It’s a nice companion for field or studio use and is priced at $2,995.
The LM is a 7″ 12bit processing 8bit LCD panel with a resolution of 800x480pixels. The contrast ratio is 500:1 with a max luminance of 300nit. The viewing angle is slightly lower at 160 degrees, but it has 1/4-20 threads for single mount on a camera or dual mount on a sound cart. There are twelve scope modes to choose from on the LM-0750W: luminance waveform, vector scope, hue vector scope, RGB parade, GBR parade, RGB overlay, YRGB peak column, histogram, color histogram, RGB histogram, YCbCr, YCbCr overlay, and audio phase meter. There’s also a unique viewing option dubbed OSC viewing mode. This allows you to view a live video feed, an audio phase meter with two channel audio level meters, and any two user selectable scopes all at the same time across four quadrants.
The display supports NTSC, PAL, HD, and 2K, and is compatible with many of the DSLRs out there. For power it comes with a 12VDC 4 pin XLR power connection and the choice of AB or V-mount battery plates. The unit is light at 3lbs and costs $1,995.
There is a slew of accessories for the monitors including yoke mounts, hoods, carrying bags, articulating C-stand mounts, waterproof hard cases, D-tap connections, and bias lights to help reduce eye strain during coloring or editing. All monitors get a free lifetime calibration where the CFE2 color management supports third party software like CalMan Studio or Lightspace CMS. With all these options, there’s bound to be a solution for your application.