Technology and Innovation

The one major drawback in using an SDTV to monitor HD is the color space factor. The coloi space of high-definition video is different than standard-definition video. Anyone who works in Photoshop has seen this when exporting a file for standard definition (NTSC) video—the colors shift in the video itself due to the differ-ences in color spaces.
WATCHING YOUR FOOTAGE ON A CALIBRATED MONITOR IS VITAL FOR GETTING GOOD VIDEO.
If you need an HDTV in this price range, an LCD would probably be your best bet. Manyol the new, smaller LCDs (up to 17 inches) suppd both 60Hz (Hertz, or cycles per second) and 50Hz, something important if you’re shoot- I ing with the Sony HVR-Zlu, which supports 60i and 50i shooting. However, you should be! aware that CRTs generally have greater color accuracy than LCDs.

Watching your footage, while shooting or editing, on a calibrated monitor is vital for getting good video, whether you’re shooting in high definition (HD) or standard definition (SD). But some HD and SD monitors can cost thousands, which can price many out of buying one of these necessary tools for video production.
We hope to help outline some good, affordable alternatives, along with the big boys. One important specification to check before getting out the plastic: make sure the resolution of your future monitor matches or exceeds the resolution of your source material. This is particularly important if you’re going to be working in 1080i today (or 1080p tomorrow.)
Affordable ($229 to $500)
Looking for a good monitor to check HD footage that is also affordable isn’t too hard. In this price range, you’ll be looking primarily at consumer-grade, 4:3 aspect ratio CRT (cathode ray tube)-based sets with component video inputs, though similar LCDs are getting easier to find, and prices are getting lower every day.