The EBU set up a task force to look into the issue: Richard Salmon was one of its leaders. It published documentation earlier in 2012. “It has taken us five years to produce the final documentation,” he said, adding “it has taken the manufacturers that time to come up with displays that start to really meet the core requirements.” The EBU, as a broadcast body,
looked to maintain core broadcast standards, and so the new specification, EBU Tech 3325, essentially aims to define what should replace the venerable Sony CRT. But, as Salmon admits from his experience in
that they could not agree what the colours were. As you moved around the colours changed. The CRT was a stable reference.” But manufacturers have been
working alongside the development of the standards for the last five years, so you would expect that there is a broad choice in modern grade one monitors. Sadly, you would be wrong.
On target Friedrich Gierlinger of IRT is another member of the EBU task force, and at the launch event he said: “At the moment there are two displays which nearly meet
requirements apart from concerns about the viewing angle. The Sony OLED is described as much better in terms of black level and viewing angle, but it may be too small — 24.5-inch diagonal, as opposed to the Dolby’s 42-inch — to spot HD artefacts. According to Daniel
Dubreuil of Sony, the company has sold more than 10,000 of its OLED monitors since the launch in February 2011. “It set a new standard for colour graders and editors in terms of deeper blacks, high contrast ratio, colours in low lights and image stability,” he said. OLED is an emissive technology, and
“If consumers are not watching their content on CRTs, then what logic is there for basing the ‘standards’ on it?” Paddy Taylor, Autocue
BBC studios, “it is very difficult to replace a CRT with a flat panel display, because you have to keep the colours the same. “We put some LCD panels in a
production environment, and the guys controlling the lighting found
the requirements for grade one displays.” These are the Dolby 4200-PRM, which is an LED backlit LCD display, and the Sony BVM250 OLED display. According to Gierlinger, the Dolby display nearly fulfils the
black really does mean no light coming out of the display, thereby addressing one of the biggest problems for quality flat panel displays: very poor linearity at the low end of the scale.
New Keying and Layering Technology
Introducing the new, award winning Avenue Layering Engine – multi layer keying that’s just right for branding, small master control, flypacks and trucks. There’s a frame sync on every input so go ahead and use sources that aren’t genlocked. And the extraordinarily intuitive iPad™ control gives you new freedom in switching a show or event.
Two, independent linear keyers, program/preset background transitions, audio mixing, voice over and breakaway, make it an agile and flexible solution for combining audio and video content. Inputs can be driven by SD, HD or 3G SDI signals from cameras, remote feeds, character generators, graphic and stillstore systems, and video servers. Realtime processing, low latency and serial control make it easy to integrate into your next project.