Issue link: https://digital.copcomm.com/i/7010
Let us tell you more: web: www.cine-tal.com email: info@cine-tal.com ph: +01 317.576.0091 collaborate | process | display TM TM Color Precision s a $22,000 LCD monitor." In response, Sony introduced the PVM series, which includes the PVML1700, a 16.5 inch LCD priced at $9,200; the PVML2300, a 23-inch /$11,000 unit; and the PVML3200 32-inch monitor that's priced at $16,900. "In doing that, we targeted the BVM series to- ward cinema," Bonifacio explains. "That's what we identify as the main marketplace for the BVM. The less expensive PVM series is marketed toward broadcasters." Sony was able to bring the cost down by changing the backlight from LED to cold cathode florescent lamps (CCFL). This change helped in reducing the cost by as much as 40 percent. The company also took out a bunch of editing-type features that would- n't necessarily be used by broadcasters. These in- cluded a butterfly function that lets users put two im- ages up on the screen at one time, a blending func- tion to overlay pictures, and a color space feature. The BVM and PVM lines are also differentiated by the BVM's 3G capabilities and its 120Hz frame rate, which helps reduce blurring in fast motion video. A third option from Sony is the Luma line, which is designed for picture viewing or confidence moni- toring, and includes sizes as large as 42-inches. At press time, Bonifacio could not specifically comment on the company's NAB plans, but he did point out that Sony had prototypes of 3D monitors at NAB last year, so attendees at this year's show might want to stop by the Sony booth to see how things have progressed. PA N A S O N I C Panasonic (www.panasonic.com) introduced the 25.5-inch BT-LH2550 last year, and according to di- rector of sales & product management Joe Facchini, the LCD-based unit is selling ver y well as a critical- viewing monitor. Panasonic also offers the 1760, a 17- inch unit that has 160Hz scanning capabilities, making it suitable for sports applications, and the 1710, which is similar in size but without the 160Hz performance. "The 2550 is cer tainly used in an editing suite," notes Facchini, "and can be used for graphics because of its color reproduction. There are folks using it in graphics facilities to look at graphics on a video mon- itor, as opposed to a computer monitor. "The 1760 is really good as a field monitor, espe- cially for sports or any type of application where you have a lot of movement," he adds."It's still showing you 60 frames per second, but those 60 frames are clearer. When you show slow motion, there is less blurring." At CES last month, Panasonic made a splash with its new 3D camera (see our "Products" section on page 40 for details), as well as with its 3D consumer plasma sets, which use active glasses. Facchini says the company is committed to offering 3D production tools and that NAB attendees can expect to see 3D monitoring solutions at the company's booth. These 3D solutions, however, will differ from their consumer counterparts in that they will be LCD-based and will likely require the viewer to wear passive 3D glasses. "Panasonic's basic view is that it's simply not prac- tical to make plasmas smaller than 37-inches, so we've always used that as the dividing line between plasma and LCD," Facchini explains. "So a production monitor, anything smaller than 37 inches, is going to be LCD-based. And when you are on a production set, you don't necessarily want ever yone running around with $80 glasses." Facchini says there is still some resistance in the professional market towards LCD monitors, consider- ing the long history CRTs had in the pro space. "But, that being said, LCDs are getting better and better. The thing to think about, with professional monitors, is how flexible they should be? When you start look- ing at trends and looking at things like 3D and the fact that the 2550, for $6,000, can reproduce color as good as a $13,000 monitor, you star t getting moni- tors that are more and more flexible. [With] CRTs, you had to buy one type of CRT for one job and one type of CRT for another job. With things like OLED coming, in the future you are going to see more and more flexibility.That's probably the thing that an LCD gives you compared to a CRT." T V L O G I C High-end, color-critical applications are the pri- mar y focus of TVLogic's (www.tvlogicusa.com) flag- ship XVM-245W. The monitor is a 24-inch, 10-bit LED backlit LCD display that meets the stringent EBU Grade 1 standards for critical monitoring. "TVLogic's approach is to start with the most ad- vanced video processing design in the industr y and combine it with the latest in flat-panel display tech- nology to build individual products that meet the very specific needs of broadcast, production and post www.postmagazine.com February 2010 • Post 19