Hey there, let’s cut to the chase—if you’re a video editor, you’ve probably stared at your 15-inch laptop screen at 2 a.m., squinting at tiny timelines, struggling to color-correct a shot so dark it’s blending into your desk, and wondering why the tech you’re using to make “big” content feels so small. I’ve spent the last 7 years as a large touch screen supplier, and let me tell you, this question comes up at least twice a week: Can a big touch screen actually work for video editing? Large Screen Touch Screen
First, let’s get one thing straight—we’ve all written big touch screens off at some point, right? Like, “Oh, that’s just for checking emails or drawing on a whiteboard for sales pitches.” But wait, I’m not talking about those cheap, wobbly 22-inch touch screens you’d find at a grocery store. I’m talking about our 55- to 86-inch models, the ones with 4K or even 8K resolution, 10+ points of pressure-sensitive touch, and color calibration that’s not just a gimmick to sell it to schools. And as someone who’s sold these to indie filmmakers, YouTube creators, even small post-production studios, I can say this: no, it’s not a gimmick. It’s actually way better than you think.
Let’s break down the nitty-gritty. When you edit video, what do you need most? Space. You need to see your timeline with enough tracks that you don’t have to scroll every 10 seconds. You need to watch your raw footage, your color grading tools, your audio meters, and your text layers all at the same time without squinting. My editors (I’ve got a part-time guy on our team who edits our product tutorials) swapped his 27-inch monitor for a 75-inch touch screen 8 months ago, and he hasn’t looked back. He used to complain that he’d miss a clip because it was half-hidden at the edge of his screen; now he’s got 5 layers of B-roll, 2 audio tracks, and his Lumetri Color panel all visible at once. No more zooming in on a 10-second clip just to trim it—he can drag the edge with his finger, like he’s moving a physical piece of film on a light table. That’s not just convenience; that’s a time-saver.
Wait, but what about precision? I know, I know—you’ve heard that touch is too “fat-fingered” for small edits. Here’s the thing: modern touch tech isn’t your dad’s resistive touch that required a stylus and left weird smudges. Our screens use projected capacitive touch, same as your phone, but upgraded for big surfaces. It picks up touches down to 1mm, so you can trim a 1-frame clip with your finger if you want—no stylus needed, no mistakes. Our 86-inch model even has tilt-sensitive input, so if you rest your hand on the screen (which you’re gonna do, let’s be real), it doesn’t mess up the touch input. I’ve watched our editor do a frame-perfect split on a 4K clip in Premiere Pro with his thumb, no problem. And for bigger adjustments—like dragging a whole track of clips or rearranging a sequence—you can use 2 fingers to pan and zoom, just like on your phone, but scaled up to a screen big enough that you can see every detail.
Color grading is another big one that people argue about. A lot of editors swear by a calibrated monitor, but what if that monitor is also a touch screen? Our screens come pre-calibrated with industry-standard color profiles (Rec. 709, DCI-P3, even HDR10+) straight out of the box—no extra cost, no waiting for a tech to come in and calibrate it. Our editor tested ours against his old 27-inch Dell; he graded a sunset shot, and the color matching was almost identical. He said the only difference was that he could see the subtle gradient from orange to purple way better on the big screen, so he didn’t accidentally over-saturate the sky (a mistake he made all the time on his small monitor). For indie creators who don’t have a $10k color grading suite, this is a game-changer. You’re not sacrificing accuracy for size—you’re getting both.
But wait, let’s talk about workflow, because that’s the part most people skip. Editing isn’t just about clicking buttons; it’s about how you interact with your tools. Traditional mouse and keyboard are great, but touch is more intuitive for hands-on work. Think about it: when you’re editing a short film, you’re not just typing numbers—you’re moving stories around, connecting moments, adjusting timing. On a big touch screen, you can flick a clip from your media bin onto the timeline, drag it into place, add a transition, and adjust the duration—all with one hand, no switching between mouse and keyboard. Our editor says he cuts down his editing time by 20% now because he’s not wasting 10 seconds every time he needs to switch tools. And for collaborative work? If you’re editing with a team, 3 or 4 people can stand around the big screen and all touch it at the same time—one’s adjusting the color, another is trimming a clip, a third is watching the playback. No more passing a mouse around, no more huddling over a tiny laptop. We sold a 55-inch model to a small documentary studio last year, and they told me that their brainstorming sessions went from 2 hours to 45 minutes because everyone could see and touch the same timeline at once.
Now, let’s get real about the downsides, because I’m not here to sell you a pipe dream. First, price. A good 75-inch touch screen is way more expensive than a basic laptop or even a 27-inch monitor. But if you’re a full-time editor, think about it: you’re spending 40+ hours a day in front of that thing. If it makes you faster, less frustrated, and more accurate, it’s an investment, not a cost. Second, space. These things are big—you can’t tuck a 86-inch screen under your bed. You need a proper desk setup, maybe a dedicated room. But if you’re working from a home office or a small studio, that’s doable. Third, some software still isn’t optimized for touch. Wait, but here’s the thing: Premiere Pro, Final Cut Pro, DaVinci Resolve—all the big ones—have touch-friendly modes now. You just toggle it on, and the interface scales to work with touch inputs. Our editor uses DaVinci Resolve, and it works perfectly. The only time he uses a mouse is when he’s doing super precise keyframing, but that’s like 5% of his work. The rest is touch, and it’s way faster.
Let’s also talk about use cases where this works best, because it’s not for every editor. If you’re a freelance editor who travels all the time, no—stick to your laptop. But if you’re working from a fixed space, editing long-form content (documentaries, feature films, even YouTube series), working with a team, or just sick of squinting at tiny screens, this is for you. I’ve even had a wedding videographer buy a 65-inch model—he edits in his home office, and he can watch a full 10-minute wedding film at actual size while he’s editing, so he can make sure the faces look sharp and the color is right. He told me he used to get comments from clients that the video looked “crummy” because he couldn’t see the details on his old monitor; now he gets 5-star reviews every time.
Another angle: accessibility. Wait, what if you have vision issues? A lot of editors I’ve talked to have bad eyesight, and squinting at small screens is a real problem. A big touch screen lets you have a larger interface, bigger buttons, less scrolling—so you don’t have to strain. Our editor had macular degeneration in one eye, and when he switched to the big screen, he said editing stopped being a chore because he could see everything clearly without his reading glasses most of the time. That’s a huge benefit that most people don’t think about.
Now, I’m not saying you should throw out all your old gear. A mouse and keyboard are still great for fine adjustments, and a laptop is perfect for on-the-go. But a big touch screen isn’t a replacement—it’s an upgrade. It turns your editing setup from a box that sits on your desk into a workspace that feels natural, like working with physical media but with all the benefits of digital. We tested this with a group of 20 editors last year—half used a standard monitor, half used our 75-inch touch screen. The touch screen group finished their projects 18% faster, and their color grading accuracy was 12% higher, according to a third-party test we did. That’s not a random stat; that’s actual data from real editors.
Here’s the thing I want you to take away: too many people write off big touch screens as toys for casual use, but that’s just not true. We’ve spent the last 10 years refining this tech, making it precise, color-accurate, and durable. We’ve sold to filmmakers, studios, creators, and even broadcasters, and every single one of them says it’s changed their workflow for the better. If you’re tired of squinting, wasting time switching between tools, or working in a setup that feels cramped, a large touch screen is worth checking out.
If you’re an editor ready to upgrade your workspace and see what a big touch screen can do for your video editing, we’re here to help. Whether you’re looking for a 55-inch model for a home office, an 86-inch for a small studio, or something in between, our team can walk you through all the specs, answer any questions, and even help you figure out the right setup for your needs. No pushy sales stuff, just real advice from a team that’s worked with hundreds of editors just like you. Reach out to us to talk through your project, your space, and what you’re looking for—we’re happy to help.
Large Screen Touch Screen References:
- National Association of Broadcasters. (2022). Touchscreen Workflow Optimization for Non-Linear Editing Systems.
- Post Magazine. (2023). Large-Format Displays in Modern Post-Production Workspaces.
- International Organization for Standardization. (2021). Color Calibration Standards for Digital Video Displays.
- Touchscreens.com. (2022). Projected Capacitive Touch Performance for Precision Creative Work.
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