best computer monitors for video editing color grading Ig (2026)

Editors who grade video need a monitor that holds skin tones, shadows, and highlights steady from the first cut to the final export, so this guide compares seven real models on gamut, calibration, resolution, and connectivity. best computer monitors for video editing color grading Ig is the phrase used here exactly as supplied.

Quick verdict on best computer monitors for video editing color grading Ig

The ASUS ProArt Display PA279CRV is the strongest all round choice for most editors because it pairs a 27 inch 4K IPS panel with 99 percent DCI-P3 coverage, 99 percent Adobe RGB coverage, and factory calibration to Delta E under 2 for editors who cut and grade every week.

Editors who want a larger canvas should look at the BenQ PD3225U, while the ASUS ProArt PA278QV gives careful Rec.709 work a lower cost entry point without giving up factory calibration.

For most editing desks, the PA279CRV earns the top spot because its color space coverage suits both web delivery in sRGB and cinema style work in DCI-P3, and its 4K resolution keeps timeline text and scopes sharp at normal viewing distance. The panel runs at 60 Hz with a 5 ms GtG response time, which is standard for color critical work and fast enough for smooth playback of edited footage. USB-C with 96 W power delivery also cuts cable clutter for laptop based editors, and the Calman Verified badge means each unit leaves the factory with a calibration report in the box. That combination is hard to match at this tier, and it explains why this model leads the list even though larger 32 inch options offer more screen area.

The BenQ PD3225U is the pick for editors who grade long form work and want a 31.5 inch 4K canvas, with 98 percent DCI-P3 coverage, 99 percent sRGB coverage, and factory calibration to Delta E of 2 or less. Its IPS Black panel gives a 2000:1 contrast ratio, which helps shadow detail read more clearly than on a standard IPS panel. Thunderbolt 3 connectivity with 85 W power delivery suits Mac based workflows, and the larger screen makes scope windows, timeline tracks, and preview windows easier to arrange side by side. Editors who work mainly in Rec.709 and sRGB can save money with the BenQ PD2705U, which covers 99 percent of both spaces and carries a Delta E average of 3 or less, while the Dell UltraSharp U2723QE adds IPS Black contrast and a strong USB-C hub to a 27 inch 4K panel.

Quick comparison table

The table below puts the core facts side by side so readers can compare size, resolution, color coverage, Delta E, and response time before the full analysis. All seven monitors use IPS panels, all run at 60 Hz except the 75 Hz ASUS PA278QV, and every response time figure in the table is stated as GtG so the numbers share the same basis.

Gamut figures come from the maker specification pages, and Delta E figures appear only where the maker publishes them.

How we selected the monitors

Selection started with the editing and grading task itself, so every model in this roundup had to offer an IPS panel, a published color gamut figure that covers sRGB or DCI-P3 at a useful level, and a resolution that keeps 4K timelines readable in a real edit suite.

Models without a maker published gamut figure were left out, and models aimed mainly at fast gaming were left out as well because high refresh rates do not improve color grading. The shortlist then favored factory calibration, hardware calibration support, and a USB-C or Thunderbolt connection for laptop editors.

A monitor earns a place in a grading roundup only when its color behavior is documented in a way an editor can act on, so gamut coverage, Delta E, bit depth, and HDR support all weighed more than refresh rate or gaming extras. Response time still matters for smooth playback, so each entry states the figure by type, with GtG as the basis for every model here. Size and resolution were treated as workflow choices rather than quality scores, which is why the list includes both 27 inch and 31.5 inch panels and one 1440p model for editors who deliver mainly in Rec.709. Connectivity, stand adjustment, and on screen color modes also counted, since a grading monitor has to fit a real desk and a real editing application.

The monitors in detail

The seven monitors below cover the main shapes of a grading desk, from a compact 27 inch 4K panel to a wide 31.5 inch 4K canvas, and each entry states what the maker publishes before drawing any conclusion, with size, resolution, and color coverage noted up front.

Read the color coverage and Delta E figures first, and note the Delta E figure where the maker publishes one, then weigh resolution, contrast, and connectivity against the kind of footage and delivery format that fills most of the working week. No single model wins on every axis, so the right pick depends on screen size, budget tier, and whether DCI-P3 or Rec.709 dominates the delivery list.

ASUS ProArt Display PA279CRV

The PA279CRV leads this roundup because ASUS publishes 99 percent DCI-P3 coverage, 99 percent Adobe RGB coverage, and 100 percent sRGB coverage on a 27 inch 4K IPS panel, with factory calibration to Delta E under 2 and Calman Verified status that suits both web delivery and cinema style grading.

That mix suits editors who cut in Rec.709 for web delivery and grade in DCI-P3 for cinema style projects, since both spaces sit inside the panel gamut. The 3840 x 2160 resolution gives sharp text at 163 pixels per inch, and the 60 Hz refresh rate with a 5 ms GtG response time keeps playback smooth for edited footage.

ASUS lists a 5 ms GtG response time and a 60 Hz refresh rate, so motion handling is typical for a color critical IPS panel rather than a gaming display, and that trade is the right one for grading work where color stability matters more than frame rate. The monitor supports DisplayHDR 400 and HDR10, which helps editors preview HDR material, although its peak brightness still sits at the entry level for HDR grading and a dedicated reference display remains the right tool for final HDR mastering. USB-C with 96 W power delivery charges a laptop while carrying video, and the ergonomic stand adjusts height, tilt, pivot, and swivel for a comfortable grading position. ProArt Preset modes switch between sRGB, DCI-P3, Rec.709, and other spaces from the on screen menu, so an editor can match the panel to the delivery format without opening separate software.

Strengths include wide gamut coverage across three major spaces, factory calibration with a report in the box, 4K sharpness, and a single cable USB-C workflow for laptop editors. Limits include the 60 Hz refresh rate, entry level HDR brightness, and a 27 inch canvas that can feel tight when the timeline, scopes, and preview all share one screen. This model fits editors who want one accurate panel for mixed web and cinema delivery, and it fits less well for editors who need a larger screen or a true HDR mastering display. Buy it when color accuracy across DCI-P3 and sRGB is the top priority; skip it when a 32 inch canvas or a higher HDR tier matters more than compact size.

BenQ PD2705U

The BenQ PD2705U suits editors who deliver mainly in sRGB and Rec.709, because BenQ publishes 99 percent coverage of both spaces on a 27 inch 4K IPS panel, with a Delta E average of 3 or less and factory calibration under the AQCOLOR program for web, corporate, and broadcast style work.

That coverage makes it a strong match for web video, corporate work, and broadcast style delivery, where Rec.709 accuracy matters more than wide DCI-P3 reach. The 3840 x 2160 resolution keeps timeline text crisp, and the 60 Hz refresh rate with a 5 ms GtG response time is standard for this class.

BenQ lists a 5 ms GtG response time, a 60 Hz refresh rate, a 1200:1 contrast ratio, and 250 nits typical brightness with a 350 nit peak for HDR content, so the panel is built for steady SDR grading rather than bright HDR mastering. HDR10 support and DisplayHDR 400 certification allow an HDR preview, but the brightness ceiling means HDR grades still need a brighter reference display for final delivery. USB-C with 65 W power delivery carries video and charges a laptop over one cable, and the Hotkey Puck G2 gives fast access to color modes, brightness, and input switching without digging through menus. Color modes include Rec.709, sRGB, HDR, and a darkroom mode for low light editing rooms, and the panel is Calman Verified and Pantone Validated, which gives editors two independent calibration references to lean on.

Strengths include full sRGB and Rec.709 coverage, factory calibration, a useful USB-C connection, and dedicated color modes that match common delivery formats. Limits include the absence of wide DCI-P3 coverage, which makes it a weaker pick for cinema style grading, plus modest brightness and a 60 Hz refresh rate. This model fits editors who deliver to web and broadcast in Rec.709 and want a calibrated 4K panel without paying for DCI-P3 reach they will not use. Skip it when DCI-P3 grading is a regular part of the work, since the panel gamut will clip colors that a wider panel can show.

Dell UltraSharp U2723QE

The Dell UltraSharp U2723QE combines a 27 inch 4K IPS Black panel with 100 percent sRGB coverage, 100 percent Rec.709 coverage, and 98 percent DCI-P3 coverage, plus factory calibration to Delta E under 2 across those spaces for web, broadcast, and cinema style delivery.

IPS Black technology lifts the contrast ratio to 2000:1, which is double the figure of a standard IPS panel, so shadow detail and black levels read more clearly during grading, even in dark scenes with subtle shadow detail. The 3840 x 2160 resolution and 60 Hz refresh rate suit timeline work, and Dell lists an 8 ms GtG response time in normal mode and a 5 ms GtG response time in fast mode.

Dell lists a 400 nit typical brightness and VESA DisplayHDR 400 certification, so HDR previews look brighter than on many SDR focused panels, although this remains an entry level HDR tier and not a mastering grade HDR display. The USB-C hub is a genuine workflow asset, with up to 90 W power delivery, DisplayPort, HDMI, multiple USB ports, and a wired network port, so a laptop editor can dock with one cable and keep drives, audio interfaces, and a second display connected through the monitor. ComfortView Plus reduces blue light at the hardware level, and the stand adjusts height, tilt, pivot, and swivel. Color modes in the on screen menu switch between sRGB, Rec.709, and DCI-P3, which keeps the panel matched to the delivery format for each project.

Strengths include wide gamut coverage, IPS Black contrast, factory calibration to Delta E under 2, and a full USB-C hub that replaces a separate dock for many editors. Limits include the response time trade, since the faster 5 ms GtG mode can introduce overshoot on some transitions, and the 60 Hz refresh rate, which rules out high frame rate gaming as a side use. This model fits editors who want one panel that handles web, broadcast, and cinema style delivery while also serving as a laptop dock. Skip it when a larger screen is the priority, since the 31.5 inch U3223QE offers the same color story on a bigger canvas.

LG UltraFine 27UP850-W

The LG UltraFine 27UP850-W offers a 27 inch 4K IPS panel with 95 percent DCI-P3 coverage, a 5 ms GtG response time at the Faster setting, and hardware calibration support through LG Calibration Studio. That DCI-P3 figure makes it useful for editors who grade cinema style footage, even though its coverage sits below the leaders.

The 3840 x 2160 resolution gives sharp timeline text, and the 60 Hz refresh rate matches the other 4K panels here.

LG publishes a 1200:1 typical contrast ratio and 400 nits typical brightness, with VESA DisplayHDR 400 certification and HDR10 support for HDR previews. LG does not publish a Delta E figure for this model on its specification page, so editors should not assume a factory Delta E target and should plan on a hardware calibration pass before color critical delivery. That gap is the honest limit of this entry, and it is also the reason this model sits below the factory calibrated leaders even though its gamut and resolution are strong. Hardware calibration support through LG Calibration Studio is a real asset here, since it lets a calibrator write a profile directly to the monitor rather than relying on a software profile alone. USB-C connectivity carries video and data over one cable, and the stand adjusts height, tilt, and pivot for a comfortable edit position.

Strengths include 4K resolution, 95 percent DCI-P3 coverage, HDR400 brightness, and hardware calibration support for editors who own a calibrator. Limits include the absence of a published Delta E figure, DCI-P3 coverage below the leaders, and a 60 Hz refresh rate. This model fits editors who already own calibration hardware and want a solid 4K DCI-P3 panel at a lower tier than the factory calibrated leaders. Skip it when out of the box calibration matters, since the ASUS and Dell models in this roundup publish a Delta E target and ship with a calibration report.

ASUS ProArt Display PA278QV

The ASUS ProArt Display PA278QV is the budget minded entry in this roundup, with a 27 inch 2560 x 1440 IPS panel, 100 percent sRGB coverage, 100 percent Rec.709 coverage, and factory calibration to Delta E under 2 with Calman Verified status at a lower tier than the 4K models in this roundup.

That combination makes it a strong pick for editors who deliver mainly in Rec.709 and do not need 4K resolution on the grading panel itself. The 75 Hz refresh rate is a small bonus over the 60 Hz panels here, and ASUS lists a 5 ms GtG response time.

ASUS lists a 1000:1 contrast ratio, 350 nits brightness, and 16.7 million colors on this panel, so it is a standard dynamic range display with no HDR certification, and editors should not use it to judge HDR delivery. That limit is clear and acceptable at this tier, since most web and corporate delivery still happens in SDR Rec.709, where this panel is at its strongest. ProArt Preset modes cover sRGB and Rec.709, ProArt Palette allows six axis color adjustment, and gamma adjustment spans 1.8 to 2.6 for editors who need to match a specific viewing environment. The ergonomic stand adjusts height, tilt, pivot, and swivel, and Adaptive-Sync support in the 48 to 75 Hz range keeps playback smooth. There is no USB-C port on this model, so laptop editors will need a separate adapter or dock for a single cable setup.

Strengths include full sRGB and Rec.709 coverage, factory calibration to Delta E under 2, a calibration report in the box, and a lower tier than the 4K models in this roundup. Limits include 1440p resolution instead of 4K, no HDR support, and no USB-C connection. This model fits editors who grade SDR Rec.709 footage and want verified color accuracy without paying for 4K or DCI-P3 reach. Skip it when 4K timeline sharpness or DCI-P3 grading is a regular need, since the resolution and gamut will both fall short of the 4K leaders.

BenQ PD3225U

The BenQ PD3225U gives editors a 31.5 inch 4K canvas with 98 percent DCI-P3 coverage, 99 percent sRGB coverage, and 99 percent Rec.709 coverage, plus factory calibration to Delta E of 2 or less and Calman Verified status for editors who grade long form work.

That mix makes it the large screen pick for grading work that moves between web delivery and cinema style projects, since both spaces sit comfortably inside the panel gamut, with room for scopes and timeline windows. The 3840 x 2160 resolution at 140 pixels per inch keeps text sharp, and the 60 Hz refresh rate with a 5 ms GtG response time suits playback of edited footage.

BenQ lists IPS Black technology with a 2000:1 contrast ratio and 400 nits brightness, so shadow detail reads more clearly than on a standard IPS panel and HDR previews benefit from the extra brightness. HDR10 support and DisplayHDR 400 certification cover HDR preview work, although this remains an entry level HDR tier and final HDR mastering still calls for a dedicated reference display. Thunderbolt 3 connectivity with 85 W power delivery suits Mac based editing desks, and the monitor also offers HDMI, DisplayPort, and a USB hub for drives and peripherals. Pantone and Pantone SkinTone validation add a useful reference for skin tone work, which is often the hardest part of a grade to judge by eye. The larger screen also makes it easier to keep the preview, timeline, and scopes visible at once without constant window switching.

Strengths include a large 4K canvas, wide DCI-P3 coverage, IPS Black contrast, factory calibration, and Thunderbolt 3 connectivity for Mac workflows. Limits include the 60 Hz refresh rate, entry level HDR brightness, and a larger desk footprint that needs a deep desk and a sturdy arm or stand. This model fits editors who grade long form projects and want room for scopes and timeline on one screen. Skip it when desk space is tight or when a 27 inch panel already covers the workflow, since the extra size adds cost and weight without changing color accuracy.

Dell UltraSharp U3223QE

The Dell UltraSharp U3223QE scales the U2723QE formula to a 31.5 inch 4K IPS Black panel, with 100 percent sRGB coverage, 100 percent Rec.709 coverage, 98 percent DCI-P3 coverage, and factory calibration to Delta E under 2 for editors who want a larger grading canvas.

The larger canvas suits editors who keep a full timeline, scopes, and a large preview open at once, and the 2000:1 contrast ratio from IPS Black technology helps shadow detail stay readable during grading, even on long editing days in a dark room. Dell lists an 8 ms GtG response time in normal mode and a 5 ms GtG response time in fast mode, with a 60 Hz refresh rate.

Dell lists a 400 nit typical brightness and VESA DisplayHDR 400 certification, so HDR previews are brighter than on SDR focused panels, while final HDR mastering still needs a dedicated reference display. The USB-C hub mirrors the smaller model, with up to 90 W power delivery, DisplayPort, HDMI, multiple USB ports, and a wired network port, so a laptop editor can dock through the monitor and keep the desk to a single cable. ComfortView Plus reduces blue light at the hardware level, and the stand adjusts height, tilt, pivot, and swivel to fit a deep desk. Color modes switch between sRGB, Rec.709, and DCI-P3 from the on screen menu, which keeps the panel matched to each delivery format without extra software.

Strengths include a large 4K canvas, wide gamut coverage across three spaces, IPS Black contrast, factory calibration, and a full USB-C hub that replaces a separate dock. Limits include the larger footprint and weight, the response time trade between normal and fast modes, and the 60 Hz refresh rate. This model fits editors who want the color story of the U2723QE on a bigger screen and who use the monitor as a laptop dock. Skip it when a 27 inch panel already fits the desk, since the extra size adds cost without adding color accuracy over its smaller sibling.

Buying guide for best computer monitors for video editing color grading Ig

A grading monitor is a decision about color spaces, calibration, and screen size before it is a decision about refresh rate or gaming features, and the choice should follow the footage that fills the working week, so start with the delivery format that fills most of the working week.

Editors who deliver to web and broadcast should prioritize full sRGB and Rec.709 coverage, while editors who grade cinema style work should prioritize DCI-P3 coverage at 98 percent or higher. Resolution, contrast, and connectivity then shape the daily workflow, and a hardware calibrator remains the best way to keep any panel honest over time.

Match the color space to the delivery format

Color space coverage decides which colors a monitor can show at all, so match the panel to the delivery format before comparing any other figure. Rec.709 and sRGB cover web and broadcast delivery, DCI-P3 covers cinema style work, and Adobe RGB matters mainly for print and photo work that shares a desk with video.

A panel that covers 100 percent of Rec.709 but only 95 percent of DCI-P3 will clip some cinema colors, while a panel with 99 percent DCI-P3 coverage handles both worlds with room to spare. Read the maker gamut figure for each space separately, since a single headline number can hide a weak result in the space that matters most for a given project.

Treat Delta E and calibration as a pair

Delta E describes how far a displayed color sits from the intended color, and a lower figure means a closer match, with values under 2 generally treated as hard to tell apart by eye. Factory calibration matters because it means the maker measured and adjusted the panel before shipping, and a report in the box gives a starting point.

A panel without a published Delta E figure can still grade well after a hardware calibration pass, but it needs that extra step before color critical work. Plan on recalibrating every few months, since backlight output drifts with age and use, and keep the room lighting steady while grading.

Size, resolution, and HDR in daily use

Screen size and resolution shape how much of a project stays visible at once, so a 27 inch 4K panel suits a compact desk while a 31.5 inch 4K panel suits editors who keep scopes and timeline open together. A 1440p panel can still grade Rec.709 work well, but 4K keeps text sharper and matches the resolution of most source footage.

HDR support at the DisplayHDR 400 tier allows a preview of HDR material, yet it does not replace a dedicated reference display for final HDR mastering, so treat HDR400 as a preview feature. Response time matters for smooth playback, and every model here lists a GtG figure, so compare those numbers on the same basis and ignore MPRT or VRB figures when they appear in other listings.

Frequently asked questions

Editors ask the same practical questions before buying a grading monitor, so the answers below cover the keyword itself, the color figures that matter, and the calibration step that keeps a panel honest. Each answer stays short and practical, and readers who need more detail can return to the analysis above.

What does Ig mean in best computer monitors for video editing color grading Ig

The trailing Ig in this search phrase appears to be a cut off fragment rather than a complete word, so the full intended phrase cannot be confirmed from the visible text. It may be the start of a longer word that was cut off at the edge of the source image, and no maker model name or color term matches Ig as a standalone word in this context.

This roundup therefore uses the visible phrase exactly as supplied and treats the topic as video editing and color grading monitors, which is the clear intent of the complete part of the phrase.

Which color space matters most for video editing

Rec.709 matters most for web and broadcast delivery, since most online video and television still uses that space, while DCI-P3 matters most for cinema style work and for footage graded for wide gamut screens, so the delivery list should drive the shortlist.

A monitor that covers 100 percent of Rec.709 and 98 percent or more of DCI-P3 handles both kinds of delivery without clipping the colors that define each format. Editors who deliver only to the web can prioritize Rec.709 and sRGB, while editors who grade for cinema screens should put DCI-P3 coverage first and treat sRGB as a secondary check.

Do I need a hardware calibrator for a grading monitor

A hardware calibrator is the most reliable way to keep a grading monitor accurate over time, even when the panel ships with factory calibration and a report in the box. Factory calibration gives a strong starting point, but backlight output drifts with age and use, so recalibration keeps the panel close to its published Delta E figure.

Editors who deliver paid client work should treat a calibrator as part of the grading kit, while editors who grade personal projects can start with factory calibration and add a calibrator when the work demands it.

Conclusion

The ASUS ProArt Display PA279CRV is the best all round pick for most editors, with 99 percent DCI-P3 coverage, factory calibration to Delta E under 2, and a 27 inch 4K panel for web and cinema delivery. Editors who want a larger canvas should choose the BenQ PD3225U or the Dell U3223QE, while Rec.709 editors should choose the ASUS PA278QV.