November 2013
www.tvbeurope.com
TVBEurope 33 IBC Wrap-Up
“Laser projection technology looks promising as well as the recent 4K DLP chips and the latest 4K Sony OLEDs but these are still to make it into the professional mainstream,” said SGO’s Nicholas Recagno. Options include TVLogic’s 30-inch DCI unit and 56-inch broadcast model capable of 10-bit 3840x2160 display; JVC’s £13,000 84-inch quad-HD LCD can accept 4K from HDMI 1.4a at 120Hz 10-bit. Panasonic fields a 31-inch 4K LCD. Eizo’s FDH3601 was originally designed for air traffic control and geophysics, but a digital uniformity equaliser, and sRGB (Rec.709) colour space have found use on several [unnamed] features. It’s a whopping £12,000 though and built to order.
The ColorEdge CG276
takes a different approach and provides a colour managed display with integrated calibration that provides a good emulation of the DCI-P3 colour space, according to the company. However, the 2560x1440 screen resolution
means it is not able to deliver the pixel for pixel mapping of the FDH3601, reflected in the £1299 price. Barco claims its DP4K-P is the only 4K projector dedicated to post production. Technicolor Paris and CineLicious LA are named users. “Its native colour gamut is wider than DCI, so it can emulate different print film stocks and ensure that the projector can reach DCI more accurately, with different lamps and over time,” says Barco’s Tom Bert. “The projector in any type of post production or colour grading facility dealing with film is a critical piece of equipment. It should be absolutely correct in terms of image reproduction.” Perhaps the most sage question to the industry’s mad rush to Ultra HD, to which I have not heard a reasoned reply, is what is wrong with lessening the compression on 1080i, making 1080p the standard it was always supposed to be and transmitting HD properly at only incremental cost?
Technology beyond the current 3.5K sensor is planned for the ARRI Alexa Barco’s DP4K-P “the only 4K projector dedicated to post production” Dolby for instance was
showing a master grading colour reference monitor at a 1080p resolution so good it looked like 4K. “The high
contrast levels bring greater pereption of depth and sharpness,” said Dolby’s Gaven Wang of the 4220 LCD 12-bit display. “We are
concentrating on better pixels with high dynamic range, not just more pixels.” The company is assessing launch of a 4K monitor, with cost and availability of the panels the main impediment. “We know there is a need for professional reference in the field, in studio and post production but since most 4K grading is done on 2K proxies just now, we are taking our time to see who is adopting 4K before we bring product to market,” said Wang. Slightly better HD won’t sell TV sets — which is of course the driving force behind the urgency in some quarters to do 4K now.
www.arri.com www.blackmagicdesign.com www.barco.com www.canon.com www.eizo.co.uk www.ericsson.com www.evs.com www.dolby.com www.sky.com www.sony.co.uk www.technicolor.com www.tvlogic.tv
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