Why Apple’s Expensive Monitor Is Worth It

Why Apple’s Expensive Monitor Is Worth It

You might not be considering dropping the cash for this thing, but the target customer might.

If you’re out of the loop, Apple announced a brand new Mac Pro. It’s an overdue replacement for the previous trash can model, and I think Apple is getting back to their Mac Pro roots. It’s more cheese grater than ever.

In addition, we’re finally getting an update to the old Cinema Display that many loved. For the past couple years, Apple stopped selling these and instead touted LG’s 5K display. The latest Pro Display XDR offering is as in-house Apple as it gets, even down to the eye-watering price. The new 10-bit 6K monitor will cost $4,999, or for $1,000 more, you can get fancy new reflection-phobic glass.

If Apple's monitor is as good as they say it is, then it competes with the best. These are comparable Flanders Scientific reference monitors.

Your Display Isn’t This Display

I’ve said for a few years now that HDR is the future. When Apple debuted the iPhone X, nearly all of the lauded features pertained to watching HDR content. Netflix is behind it, HBO dropped the ball on it with Game of Thrones, and content producers need to get on board.

Unfortunately, reference monitors aren’t all the same, and newer standards like HDR10 and Dolby Vision can only be achieved with a certain class of display. That wouldn’t be a problem if these things were cheap, but an industry standard Flanders Scientific monitor will seriously set you back, and you'll want it to last years. A Flanders that’s comparable to Apple’s Pro Display XDR would cost $35,000 and would be 4K instead of 6K.

A side note here that I prefer a true 16x9 4K reference monitor so there’s no upscaling from a 4K signal. Still, 6K is impressive and will be amazing for photographers.

The Competition

Two years ago, I reviewed Atomos’ Sumo monitor/recorder, a wonderful piece of kit that gave me hope for the future of HDR. It had a 10-bit FRC, 1,200 nit display and all the bells and whistles you could need on set: focus peaking, waveforms, the lot. The display-only version costs about $1,300 right now.

However, it’s not true 10-bit. It’s 8+2-bit. Here’s a brief explanation of that. While some might not notice the difference, Atomos certainly have. That’s why they’ve released all new 10-bit HDR monitors that directly compete with their Sumo, the Atomos NEON.

If we were to pick the new Atomos NEON monitor that matched Apple’s Pro Display the best, it would be the 31” model. This monitor comes in at $7,999. Granted, Atomos packs this monitor with way more I/O, a 4K 10-bit recorder, waveforms, LUTS, and even an accompanying app. But I hope you still see what the asking price for a good HDR monitor is.

Atomos' new NEON line up is a competitor with Apple's Pro Display XDR, although they are so much more than just a display.

Non-Issues

Now I don’t think that Apple’s Pro Display really matches exactly to a Flanders or Sony reference monitor. You don’t get built-in scopes, LUT control, or any features that might help on set. They also say that the Pro Display “produces an industry-leading 1,000 nits,” which is and isn’t true. That 1,000-nit $35k Flanders monitor I mentioned earlier has a $45k bigger brother, which peaks at 3,000 nits.

I’m being extremely nit-picky here though, because that Flanders monitor can only display the 3,000 nit image at a 20% scale. So, you’re only getting a small fraction of usable screen. This won’t happen with Apple’s monitor.

What also won’t happen with the Pro Display is full performance when it’s warm. Apple is claiming that it’ll sustain at 1,000 nits and have a peak of 1600 nits. That brighter ability won’t kick in if the monitor is over 25 °C. Interesting that they’d dish out a temperature in Celsius on their US website. That’s 77 °F, so comfortably above room temperature. This isn’t a particularly jarring issue, I feel, but I’ll bet people will complain about it and compare it to the MacBook Pro’s i9 chip overheating.

The lack of HDMI or SDI sets the Pro Display aside from other reference monitors, and it irks me. This is designed to be plugged into a Mac computer.

Industry Adoption

Apple makes a bold point here. They think that if everybody buys these monitors and they overtake the existing industry standard, then the industry will be better off. They’re totally right, in the sense that a colorist or retoucher knows that they’re looking at the same monitor that was used on set.

If industry juggernauts start advertising their tools with the Pro Display, then there’s even more reason to buy it. I’m talking about color calibration tools like Spyder, waveform display apps like Scopebox, and editing apps from Davinci Resolve and Lightroom (who have both already been mentioned in Apple’s keynote).

Also, I know it’s petty, but most of us like when a client recognizes and appreciates our tools, from a particular lens to a type of light. Does a client always know the difference between a softbox and a parabolic? No, but they might know the difference in quality. I’m sure we’ll be seeing these displays in high-end studios soon, and I’m sure that some of the appeal will be the client seeing a brand they know and trust.

Pros have called on Apple to provide updated gear for years, and it’s finally happened. I’m going to brush off the comments that they’ve missed the mark here. Although, I just can’t get behind a $1,000 monitor stand.

What do you think? Will you be saving up or renting one for a few days? Or do the likes of Atomos, Flanders Scientific, and Sony seem more reputable to you?

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69 Comments

Previous comments

Nope. This is insane.
Being trapped in Apple's insane ecosystem makes less and less sense everyday.
Wake up.

Marius Pettersen's picture

You are free to use any other monitor. This is overkill for most creatives.

Watch out Eduardo. Brainwashed Apple Fanboys are down-voting you.

Actually its not that much for studios making content for Network or movies which is who they're after? You think they expect people who edit photos for instagram to buy these?

Chad D's picture

they built it without being vesa from the start and charge $200 for the adapter tells me this is more a money grab and the stand

apple has never beat Eizo or NEC in accuracy when profiled

is it worth it ? not for photographers I feel and other options with much better features will be better but the fan boys will eat it up
our studio has 3 mac pros and one PC and 2 iPad pros so I love apple prefer apple so not bashing just calling what I see think

I am not a high end video guy so will leave their thoughts to them as they might feel its worth it IF the accuracy is what it needs to be and if the overall feel is for 6k and accuracy it could be a great deal who knows till folks get their hand on it

but no matter what this is a even more narrow niche device then ever and photographers would be much better off with Eizo or NEC IMHO at least

as I said we will see lots of youtube influencers saying how awesome it is with their red cameras and it barely fit in their exotic car to get it home kinda idiocy

but hat is where we are today

Reality is not what a monitor can display, its what you can see with your eyes. Wanna see real high resolution? open your eyes and look at that beautiful sunset..If the brain surgeons can use a $900 monitor to remove a tissue in my brain, i dont need this monitor. Whats the target audience I wonder, $6.000 monitor to a raw video file then to the web to be seen by people with a 19 inch average monitor. I don't get it

Marius Pettersen's picture

Why shoot in RAW? Most people do not see the additional data in the file.

Lee Christiansen's picture

Ok... that isn't really a question... please tell me you're not really asking that... :)

But just in case, we shoot in Raw so we can play with all the data before we push it out on a more limited format.

Marius Pettersen's picture

Hehe, you can breathe with ease, it was more of a rhetorical question. A comment towards those that conflate displays made for viewing final content and those made for post-processing - and really any part of the workflow where file data is being manipulated.

most people dont see difference between 8 and 16 bit ..

Marius Pettersen's picture

Sure, but it is relevant in post-production.

exactly .. my point was it doesnt matter what most people see or dont ..

Rob Mitchell's picture

1: It won't make your photos any better.
2: No client will ever see the difference as they won't be using a monitor that expensive.
3: A fool and his money are soon parted.

Jacques Cornell's picture

I take it, then, that you do your retouching on a monitor roughly equivalent to what your clients use - a $150 unit from Staples, uncalibrated?

Rob Mitchell's picture

You can take it how you want. However your assumption is wrong.
There's a gulf between an excellent monitor and an exorbitant one. Of course, they will fly off the shelves because people have more money than sense and think it'll all be better.

problem with clients is that they are wondering why it is not looking as good on calibrated CG Eizo as it is on their flashy Macbook retina laptops :)

Marius Pettersen's picture

Reference monitors are created for video work, not photography.

It's not any better for video than an EIZO which you can get for a quarter of the price.

Marius Pettersen's picture

That really depends on the workflow and criteria for delivery. Reference monitors are probably overkill for a lot of video work as you state, but I believe that they will become more relevant to the future of post-processing HDR10/4K/8K movies and video content.

Lee Christiansen's picture

Reference monitors are created for reference - which includes photography and video, or anything else that requires a reference.

The whole point of a reference monitor is not that it is particularly good - it is that they tell exactly the story, exactly what the data is, no quirks, no variance, no lack of accuracy. The best reference monitor is as boring as it gets - nothing but the truth with zero character... and that usually costs.

As to overkill? It would depend on your tolerance level. Many would regard my Eizo CG319X at £4000 as overkill. I regard it as the minimum I'm prepared to expect after test driving a great deal of other monitors (including others in the Eizo CG range).

dale clark's picture

This would be a great time for other makers (LG, NEC, etc) to hop on board with a similar offering at a much lower price. Don't be surprised that someone will start offering stands at a more reasonable price.

Marius Pettersen's picture

Probably not for a long time. Reference monitors with specs like this are usually extremely expensive. Most creatives do not need them, but some do - especially color graders and those that work on HDR10 content. I can't find any NEC HDR reference monitors, and EIZO only got one with competing specs - the ColorEdge PROMINENCE CG3145, which costs around $30,000.
ASUS ProArt PA32UCX may become a decent alternative at around $4000, but it's difficult to find any hard specs on sustained brightness values, only typical or peak.

Leigh Miller's picture

Again...this new MAC Pro and Monitor is not for "US"

They are going to charge $1K for the monitor stand...but give you the cleaning cloth as part of the monitor sale??

No thanks...keep the cleaning cloth. Throw in the monitor stand.

This is pretty much for the Hollywood studio game. Nobody needs this for Youtube..and anything equivalent.

So everybody that owns a monitor of less than 5000$ can't produce decent images and video?? Really??

Protip: If people have to write an article after the fact to convince you that it's worth it, it's probably not worth it.

I love how he says the closest competition to their monitor is a 10-bit video RECORDER / reference monitor that is, by definition, twice the equipment, not a valid comparison. Of course it's going to cost substantially more. For an actual comparison try an EIZO or NEC reference monitor. You can pick up 4k 32 inch models for around 1 grand and they are actual professional reference monitors.

4K is common for professionals who use multiple monitors, but 6K is common for processionals who use one monitor. That way, 4k video can play at native resolution in the video editing software while all the controls and menus are around it.

Lee Christiansen's picture

This is very true. My 4K monitor isn't quite big enough for my images and the work surfaces and space to dump folders etc, so I have an extra 21" monitor at the side.

I am patiently waiting for the "I can build one of those for like $650" posts....

has been already calculated :) .. it is roughly half of the price (for base Mac Pro) ..well with nVidia obviously ;)
But that doesnt really matter if you wanna use FinalCut or if you are too much into OS ..

Zoli Tarnavölgyi's picture

Guys, what about calibrating this new Apple monitor? I mean, does this have any buttons, options to set RGB, contrast, etc... Previous Apple monitors, iMac doesn't have the option... Or at this category factory calibrated and that's all? I haven't seen any Apple screen coming with the right WB from factory...

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