Ikegami Introduces ULE-315 Multiformat Full-HD 3G-SDI Video Monitor

Designed for studio environments the 31.5 inch model has two 425M-A 3G/HD SDI inputs, Y/Pb/Pr analogue component inputs (3 x BNC), plus a 3G/HD-SDI active loop-through output.

HDMI, DVI and VGA inputs are also provided as well as an audio input and RS-422 (RJ45) control interface. The monitor's integral encoder is compatible with all commonly used video signal formats, from 480i and 480p up to 2048 x 1080p.

"The ULE-315 is a highly versatile Grade III monitor offering SDI connectivity plus a wide range of production-related capabilities at a cost-effective price," says Michael Lätzsch, Broadcast & Professional Video Division Manager at Ikegami Electronics. "We are confident that it will meet the requirements of broadcasters, post-production companies and playout service providers, the majority of whom have a strong investment in SDI infrastructure."

Video-related features of the ULE-315 include safety area markers, adjustable scan modes (zero scan/over-scan/pixel-by-pixel) and blue/mono mode. Audio features include 16-channel SDI-embedded level display meters, internal loudspeakers and a front panel stereo headphone output.

The monitor can be color-calibrated with measuring probes from Ikegami-recognised manufacturers. The display is a 1920 x 1080 pixel IPS-type AHVA panel delivering Full-HD resolution within +/- 178 degree viewing angles.

Light in weight (12 kg) and compact in size (744 x 502 x 160 mm WHD with stand, 744 x 450 x 70 mm without stand), the ULE-315 can be used on a desktop or attached to VESA wall mounts. It operates from 100 to 240 volts AC mains and has a 50 watts rated power consumption.

You might also like...

HDR: Part 32 - Creative Technology - Film Scanning

The film and TV business is a prominent producer of things that were once very expensive, but which have become much more affordable as developments overtook them. That’s never clearer than when browsing everyone’s favorite auction website, which has…

HDR : Part 31 - Creative Technology - Stills Lens

Still photo lenses find their way into film and TV work via many different routes and for many different reasons. It’s happened so much that the prices on some popular options have risen precipitously in recent years. Are there s…

Remote Production 2.0

Although it may seem that remote production was born out of necessity to address a growing demand for distributed workflows amidst global lockdowns, it was already gaining momentum prior to the pandemic, which accelerated the trend. But why is remote…

Creative Analysis: Part 23 - Christian Rousseau On No Loss, No Gain

Filmmaking is not usually a weekend pursuit, but a sufficiently clever script can make a wide-ranging story happen in a very contained space.

HDR: Part 30 - Creative Technology - A Thousand Ways To Shoot

For most of its history, film and TV work has, by any sane measure, been incredibly complicated. Photochemical film was a nightmare of precision engineering and process control. Digital alternatives, intended to make things cheaper and simpler, involve some of…