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July 2017

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Page 30 of 43 29 POST JULY 2017 DISPLAY TECHNOLOGY Santa Clarita, CA — When Digital Jungle (www. moved to its new Santa Clarita location late last year, CEO Dennis Ho decided to build a hybrid theater/mix stage for features. "It's truly a multi-purpose space," he says. "In the past, some clients wanted to judge color and sound mixes in a single environment. We're simply giving them what they've requested." The new room, still under construction (pho- to, top right) will feature Blackmagic Design DaVinci Resolve for 4K DI and an Avid S6 con- sole, Pro Tools and Dolby Atmos monitoring. Digital Jungle will redeploy its Stewart perfo- rated screen and Barco DP4K-P projector in the theater. "This particular projector contains soft- ware tuned to specific post production appli- cations and its extra wide color gamut provides great color matching," Ho reports. The company's color grading capabilities will also include an additional stand-alone suite designed mainly for television. "Our monitoring considerations for this suite in- clude JVC's DLA-RS620 4K projector with full auto HDR," says Ho. "We're also thinking about Eizo's ColorEdge Prominence CG3145 HDR 4K flat-screen monitor, which will be available at the end of this year. It's self-calibrating and supports XYZ and Rec.709. Having HDR capa- bilities is important now, and the Eizo monitor will aid us in that." He notes, "It's a tough time to choose" new projectors and monitors. "A lot is up in the air right now. There are a lot of factors to consid- er in color grading TV work with a projector versus a monitor. Some say a projector is fine for Rec.709 color space; you can see more detail before it hits the full-screen monitor. Others feel that television work should be judged only with the end interface in mind, hence a flat-screen monitor. But many con- sumers have home projectors now, too. So we have to experiment to see if an image on a high-resolution projection can translate well for a flat-screen television." — By Christine Bunish DIGITAL JUNGLE'S THEATER/MIX STAGE COSTA MESA, CA — BenQ America Corp. (www., a provider of visual display solutions predominantly in the pro AV market, recently demonstrated its newest Creative Series mon- itors for the post community at the 2017 NAB Show earlier this year. The company introduced its Technicolor Color-Certified PV270 video post production and PV3200PT video editing monitors, with a focus on how they can improve image visualization. "Editing and post production is becoming more and more nuanced, requiring more of attention to detail than ever before," says J.Y. Hu, vice president, business line management at BenQ America Corp. "At NAB, attendees got a hands-on demonstration of the innovations we pack into our monitors to make their jobs of executing such fine-tuned details easier and more accurate without ever compromising on color performance." BenQ's PV270 Technicolor Color-Certified monitor delivers accurate color from start to fin- ish. The monitor's 99 percent Adobe RGB cover- age encompasses most of the colors producible for photography, whereas the 100 percent Rec. 709 coverage and the 96 percent DCI-P3 color gamut is crucial for video post production work. Thus, the PV270 is ideal for post pros editing video. The display includes brightness uniformi- ty, which offers a more authentic and consistent viewing experience. The 2560 x 1440 (QHD) res- olution delivers the crisp picture quality expect- ed for close reviews and detailed editing, and the spacious 27-inch widescreen view provides greater comfort and productivity. With a 14-bit 3D Look Up Table (LUT) and Delta-E value of less than or equal to 1.5, pros can display the most accurate color mixture. It also improves the RGB color blending accuracy, resulting in impeccable color and grey tone reproduction. The PV3200PT is BenQ's first monitor designed specifically with video post pros in mind. This wide-angle, 32-inch IPS display fea- tures 4K UHD (3840 x 2160 pixel) resolution to scrutinize images to the finest details. The PV3200PT's color gamut covers 100 percent Rec.709/sRGB and includes hardware calibra- tion support via the Palette Master Element calibration software to adjust the monitor's color gamut, white point, color tempera- ture and luminance. A Brightness Uniformity feature helps maintain the monitor's display performance and ensures even brightness throughout the canvas. With built-in 24P sup- port, videos can be viewed with correct timing at their native cinematic frame rates. Other features include built-in 14-bit 3D LUT and a Delta-E value of less than or equal to 1.5 to de- liver the highest color accuracy and the truest reproduction of original images. An optional software development kit is also available to allow studios or calibration software providers to be more involved in the setting of calibra- tion customizations. Available now, the BenQ PV270 retails for $899 MSRP and the PV3200PT retails for $1,299. BENQ OFFERS MONITORS FOR POST

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