Issue link: https://digital.copcomm.com/i/69535
A Clear fluorescent (EEFL) backlight system designed for edit bays and color suites that need a bigger-than-desktop color-critical display. Both monitors feature A/B 3G and dual- link SDI with full 4:4:4 color space support, component/composite, HDMI and DVI inputs; 8-channel embedded audio metering; closed captioning support; optional auto color cali- bration software; internal 3D color space LUT and support for third-party 3D LUT import. "TVLogic monitors are being used beginning to end from on-set production to post. Main- taining consistent and reliable calibrated imag- es throughout each step of the process is very important," Donahue notes. "Our XVM Series helps ensure that the look the director and DP intended is not lost when it gets to the end of the production line. " TV Logic's 32-inch XVM-325W uses a 10-bit IPS 1920x1080 LCD with an external fluorescent (EEFL) backlight system. At NAB Sony debuted the PVM1741 and PVM2541 17- and 25-inch professional OLED picture monitors that deliver "OLED technology at an LCD price," Mandle says. Although they do not offer the same full feature set or accuracy and stability claims of the E and F Series monitors, the latest models in the PVM Series are still "miles and miles" beyond LCD monitors, he notes. The PVM Series is used "anywhere you want a good- looking picture — editorial, graphics, on-set post. We've even seen people color grading on them." Both are currently shipping. Having netted the HPA's Engineering Excellence Award for its OLED technology last fall, Sony plans to do a lot more OLED development moving forward, says Mandle. "It's been a 17-year, $200 million project." TVLOGIC Two new color-critical 10-bit monitors joined TVLogic's (www.tvlogicusa.com) line- up at NAB. "The XVM Series, our most color critical, started with a single monitor, our flagship 24-inch XVM-245, which we believe is the best, most accurate LCD available," says director of channel marketing Wes Donahue. "But one size doesn't fit every application. So we expanded the line, adding both 17-inch and 32-inch sizes to cover a wider range of requirements." The 17-inch XVM-175W offers full HD native resolution, which is ideal for on-set DIT/QC monitoring, broadcast vans and QC rack monitoring. It marries a 10-bit IPS 1920x1080 LCD with a high-purity RGB LED array to display "ultra-wide 10-bit color space enabling even the most subtle shades captured by the latest cameras to be repro- duced accurately," says Donahue. The 32-inch XVM-325W uses a true 10-bit IPS 1920x1080 LCD with a wide-gamut external 22 Post • June 2012 DOLBY Dolby Labs' (www.dolby.com) PRM-4200 Professional Reference Monitor launched in October 2010. Its patented dual-modulation display technology produces images of the highest quality on a flat-panel display for col- orists and cinematographers, and supports high dynamic range workflows demanded by the latest digital cameras, such as Arri Alexa and Red Epic. Since Dolby introduced the 4200 it has made a number of enhancements to the 42-inch monitor. "It was designed from the point of view that it can continue to improve; customers get three years of software support with their purchase, " says Bill Admans, Dolby's director of production and post production. At this year's NAB conference, Dolby announced support for content shot at a rate of 48fps. The monitor already supported 60 fps; expanded support for 48 fps will meet the needs of filmmakers, such as Peter Jackson and James Cameron, who are advocates of 48 fps capture and display for digital cinema. Also new is support for Nucoda 3D LUTs. The 4200 has offered Cinespace LUT support, and many customers requested adding Nucoda, Admans reports. Dolby also introduced support for Academy Color Encoding Specification (ACES) workflows. In addition, the company has announced Dolby Display Calibration Services, a "low- cost service, performed by Dolby staff in the field, that dramatically lowers the cost of ownership," according to Admans. Multiple levels of offerings include a basic calibration once a year; a package of four annual calibra- tions; a yearly advanced calibration, which brings every RGB LED in the backlight up to factory specification; and calibration display matching of the 4200 to another display. "Dolby is known for listening to the market- place and responding to customer needs and www.postmagazine.com HP's ZR2740w is targeted at post pros. performance displays. "The ZR2740w pro- vides the key features and expansive screen size that filmmakers need at an affordable cost that won't break the bank." The ZR2740w offers 2560x1440 resolu- tion and 3.7 million pixels in an ultra-mod- ern and sleek design, which complements HP Z workstations. Its IPS (in-plane switch- ing) technology provides outstanding image accuracy with ultra-wide viewing angles and up to 10 times higher contrast ratio when viewed at an angle compared to mainstream monitors. The ZR2740w's ultra-low brightness setting is ideally suited for digital content creators working in low- brightness environments. DisplayPort and dual-link DVI simplify connection to a range of evolving technolo- gies; an integrated USB hub connects up to four devices at the monitor. The ZR2740w, like others in the series, features an eight-way, comfort-adjust stand for easy user optimiza- tion of height, tilt, swivel and pivot (from landscape to portrait modes) positions. The monitor is now shipping. for being a technology innovator," says Admans. "We're working closely with customers to fulfill their future content creation needs." HP HP's (www.HP.com) newest entry in its Performance Monitors Series is its first 27-inch model, the ZR2740w — now the largest in the ZR Series. Delivering more than one billion colors in a mercury-free LED backlit IPS panel, it's designed for post production, animation, game development, broadcast, design and graphics where perfor- mance and visual quality are imperative. "HP meets the needs of post production video professionals with the ZR2740w that generates more than one billion onscreen colors for smooth color transitions that vir- tually eliminate banding artifacts," says Larry Mahoney, product marketing manager, HP