that 4K / UHD is likely to serve as a main resolution for monitoring and format for content as this new technology benefits productions , which has critical demand on monitoring quality . Hence , Osee will launch a new 4K / UHD monitor line this June to better serve our clients ’ 4K / UHD needs .”
For SWIT , one of its key offerings is the S-1243H full-HD LCD monitor , which offers 2K / 3G / HD / SD-SDI and HDMI monitoring . Designed as a studio monitor , the 23.8-inch LCD monitor adopts an IPS LCD panel , and features waveform analysis in YCbrCr and RGB formats , vectorscope and histogram .
And although the company is yet to offer any broadcast monitors with 4K / UHD and HDR capabilities , SWIT ’ s Ni notes a growing trend where on-camera and studio monitors , equipped with HDR capabilities and featuring 10-bit colour depth and 1000-nit brightness , are increasingly available in the market .
In order to deliver 4K / UHD and HDR , content producers have to re-design their workflows , so as to meet the higher requirements for bandwidth and storage . Incorporating HDR into the 4K / UHD ecosystem poses yet another challenge , says Richard Lim , director of Blackmagic Design Asia .
He elaborates : “ There are different HDR standards , and the pain point is about displaying
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Blackmagic Design has released the Video Assist 2.3 , an update to its Video Assist users , with additional features such as 3D LUTs , false colour monitoring and expanded focus options .
❝ The benefit of monitoring with 3D LUTs is that the crew is able to see the footage as the director intends it , and is completely nondestructive because the original camera footage remains untouched .❞ — Richard Lim , Director , Blackmagic Design Asia
HDR in the existing environment . Displaying these HDR images on the broadcast monitors requires 12-bit per channel but most
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monitors are in 10-bit .”
To address content producer ’ s needs for displaying HDR on broadcast monitors , Blackmagic
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Design is offering its DaVinci Resolve Studio editing and colour correction suite , which is capable of supporting different HDR standards while providing algorithms that can help users to display 12-bit HDR images on the 10-bit Blackmagic Video Assist monitors .
Designed to be mounted on cameras as a large crew monitor , Blackmagic Video Assist monitors can also be deployed by cinema tographers to compose shots , or set in front of the director to review each take . Available in two models — a five-inch HD monitor and a seven-inch 4K / UHD monitor — the portable monitor and recorder features SD card recording in 10-bit 4:2:2 quality ProRes , DNxHD and DNxHR files in Quicktime and MXF formats .
Blackmagic Design has also released the Video Assist 2.3 update to both models , with additional features such as 3D LUTs , expanded focus option and false colour monitoring .
Using false colour monitoring , camera operators are able to keep exposure consistent from shot to shot , as the false colour exposure tools allows them to set exposure in different parts of the image by highlighting specific colour ranges of luminance with a solid colour overlay .
The expanded options for focus assist allows users to adjust
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focus in a wider range of scenes , and under a variety of different lighting conditions .
Particularly , Lim emphasises how the 3D LUTs function has become an important part of digital filmmaking as it transforms the camera images into a look that closely approximates the final look the director wants .
He elaborates : “ As digital films are often shot in logarithmic colour space , the shot will look flat and washed out when viewed on the monitor . The benefit of monitoring with 3D LUTs is that the crew is able to see the footage as the director intends it , and is completely non-destructive because the original camera footage remains untouched .”
SWIT has also included a 3D LUTs calibration feature in its third-generation studio monitors . Claiming 3D LUTs as the most precise method of colour calibration , Ni adds that this feature is able to measure and control RGB in a cube , and offers the 17x17x17 steps cube to map the monitor display colour space to the correct colour space .
He concludes : “ We understand that broadcast monitors requires precise and accurate colour response . The 3D LUTs correction files can be imported and read by the monitor , so that the monitor is able to be calibrated , which is very important for content producers .”
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