The JVC exhibit had IP-connected cameras and a new H.265/HEVC streaming adapter. But new broadcast monitors caught everyone's attention.
The broadcast monitors JVC brought to IBC 2019 demonstrated their continued leadership in providing top end displays for all needs.
JVC brought many new professional displays to IBC 2019, including three of their top new DT-U line of monitors.
As Frank Nieuwenhuis, regional sales manager for JCVKenwood, Europe, told me, “These are reference monitors for people in situations such as color grading suites, edit bays and even master control rooms where the absolutely best color representation is critical.”
Jay interviews Frank Nieuwenhuis, sales mgr, JCVKenwood, Europe.
Right at the top of this line is the DT-U31PRO with a native 4K panel (4096 x 2160) with LED backlight and multiple 4K interfaces including 12G/6G-SDI, 4x 3G-SDI quad link, 4K60p HDMI 2.0.
They come in sizes starting at 17-inches, but at IBC 2019 JVC introduced two new 55-inch and 75-inches large format sizes.
All DT-U series monitors boast support for 3DLUT 17x17x17 precise auto calibration, with built-in color generator and calibration software.
They also have support for HDR display (HLG HDR, ST.2084 PQ and S-log3) to present realistic image.
The DT-U series of monitors has built-in De-log LUTs including JVC J-log1, ARRI Log-C, Sony S-log2, S-log3, Canon C-log, Panasonic V-log and Red Digital Cinema’s RedLogFilm LUTs, to convert to ITU-Rec.709 directly.
At a slightly lower price point was JVC’s DT-V family of LCD displays such as the DT-V17G2, a 17-inch model designed for field, studio and broadcast use.
“These 2K displays feature a wide range of input connections, including RGB and IP jacks, for maximum flexibility,” Nieuwenhuis told me. “They even have USB ports so you can connect a color calibrations system. Although this line is considered HD resolution, 1920 x 1080 pixels, they are fully capable of displaying 2048 x 1080/24p (DCI 2K) signal.”
Both of these monitor lines boast built-in Histogram, Waveform, Vector Scope, and Zebra displays along with up to 16-ch audio level meters.
You might also like...
BSC Expo 2020 continues to grow in strength. Full of talks, demonstrations, and the latest kit, this year’s BSC Expo even had film on show.
There’s a terrible tendency in cinematography to concentrate too much on the technology, overlooking creative skills that often make a huge contribution. In the last two pieces of this series we’ve gone into some detail on the historical bac…
The derivation of the famous CIE horseshoe was explained in the previous part in terms of a re-mapping or distortion of rg color space. The derivation is somewhat abstract because the uses of color science go far beyond the applications…
We live an era of immensely powerful post-production tools with advanced color-correction and software plug-ins to serve every conceivable function. We can routinely remove guy wires from scenes, change day to night, and add just the right amount of coral…
Last time, we talked about the history that created modern digital cinema technology, and particularly the factors which lead to the modern push for ever larger sensors. It’s been going on in some form for twenty years, to the p…