Client monitor is a separate video display for the producer or director to view the live feed.
Client monitors typically operate with 1920x1080 Full HD resolution at 25/50 Hz (PAL) or 23.98/59.94 Hz (NTSC). More modern systems support 4K signals with 3840x2160 pixels. Brightness levels range between 300-1000 cd/m², while color accuracy with Delta E values around 3-5 is sufficient for this application. Wireless transmission systems like Teradek Bolt or Hollyland Mars achieve latencies of 40-80 milliseconds with ranges up to 150 meters. Integrated LUT support enables the display of various look variations without interfering with the shooting process.
The concept originated in 1991 with Sony's first portable LCD monitors (LMD series) as advertising clients increasingly demanded direct insight into filming. In 1997, Panasonic established the standard for on-set monitors with broadcast-ready signal processing using the BT-LH series. The integration of wireless transmission starting in 2008 by Paralinx revolutionized flexible positioning. Since 2018, 4K-capable OLED panels from Flanders Scientific and TVLogic have dominated the professional sector.
In commercial productions, clients typically position themselves 5-10 meters away from the set to influence image composition and performance without disturbing the actors. Christopher Nolan deliberately opts for minimal client monitor setups in his productions to encourage spontaneous decisions on set. Documentary filmmakers use 7-inch wireless monitors for discreet directorial supervision. Their use reduces the risk of reshoots, but can slow down shooting dynamics through constant approval processes.
Unlike the Director's Monitor, which is primarily optimized for image composition, the Client Monitor prioritizes user-friendliness over color accuracy. Video Village setups integrate multiple monitors for different stakeholder groups. Tablet-based solutions like Qtake are increasingly replacing dedicated hardware with app-controlled playback on iPad Pro devices. In budget productions, the director's monitor often serves both functions, while high-end productions provide separate 32-inch reference monitors for clients.
Ich positioniere den Kundenmonitor bewusst außerhalb meiner Sichtlinie, um Ablenkungen zu vermeiden, setze aber auf identische LUT-Settings wie am Hauptmonitor für konsistente Bildbeurteilung. Die drahtlose Übertragung gibt mir Flexibilität bei Kamerabewegungen, während ich gleichzeitig die Latenz im Blick behalten muss, damit Kunden-Feedback zeitlich korrekt zugeordnet werden kann.
Ich nutze den Kundenmonitor strategisch, um Entscheidungsträger in den kreativen Prozess einzubinden, ohne dass sie direkt am Set eingreifen müssen. Durch gezielte Positionierung des Monitors kann ich die Aufmerksamkeit der Kunden auf bestimmte Bilddetails lenken und gleichzeitig den Arbeitsfluss der Crew ungestört lassen.
Ein professioneller Kundenmonitor-Setup kostet 3000-8000 Euro täglich, verhindert aber teure Nachdrehs durch sofortige Freigabe-Entscheidungen am Set. Ich kalkuliere 30-45 Minuten zusätzliche Setup-Zeit pro Drehtag ein, spare aber durchschnittlich 2-3 Stunden durch wegfallende Abstimmungsschleifen in der Postproduktion.
1. Was beschreibt „Kundenmonitor" am besten?
2. Zu welchem Department gehört „Kundenmonitor"?
3. Wie viele verschiedene Fachperspektiven bietet dieser Eintrag?
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