16
April 2012
January-February
2016
Better technology
also means better
customer service
SmallHD
sets new
bar for OLED
displays
SmallHD has a new sale pricing for its
seven-inch AC7-OLED series of monitors
for video production. Starting at US$749,
the AC7-OLED is now priced $500 below
any other professional OLED seven-inch
monitor in the market, according to
SmallHD. Whether mounted on a set of
handles, light stands or on-camera, the
multi-faceted AC7 OLEDs, featuring a
1280x800 display and 10000:1 contrast
ratio, are used as on-set client monitors,
and are becoming a popular viewing
accessory for drone pilots, added SmallHD.
DSpecialists has new
software for ISOSTEM
DSpecialists, a provider of pro audio,
masurement technology and intercom
solutions, has a new software release for
its ISOSTEM upmix unit. The upmix and
downmix features of ISOSTEM “guarantee”
that the programme loudness of the
original signal, adjusted according to
the EBU R128 standard, is maintained.
ISOSTEM is an upmix system that generates
a fully adequate surround sound from
stereo signals in real time, and is therefore
especially suited for use in broadcasting,
studios and post production, according to
DSpecialists.
Next Month @ Creation
Subtitling Systems, Closed
Captioning, Lip-synching
PANELLISTS
Joseph Jerome T
Francia
Vice-President
& Head of International
Operations
GMA International
Amitabh Kumar
Director, Corporate
Zee Network
With the entry of various
video formats, broadcast
display manufacturers
are making sure that
broadcasters will always
have more than enough
options to handle any video
production requirement.
Millette Manalo-Burgos
writes more.
O
ne company which is keeping its eye
not only on broadcast display technol-
ogy trends, but also on actual customer
needs is Beijing-based Osee Digital
Technology.
Dawn Zhang, Osee’s chief of over-
seas sales department, tells APB that
nowadays, they have to keep in mind
that whatever features incorporated into
the company’s broadcast monitor offer-
ings (culled from customer requests and
feedbacks) should be very price-sensi-
tive, but in no way would compromise
the quality of the products.
The company started to embark on
the design and development of its LCD
monitor line in 2007. “LCD racks earned
Osee a big name in the international
market when it showed up as a new
brand,” says Zhang. “With the penetra-
tion of our standalone monitors into
the markets, our name in this business
sector has been enhanced.”
She adds: “Osee has well been aware
of the trends, and we thus come up
with different series of monitors that fit
different market needs tailoring to the
exact applications.
“Take our LMW series, for instance;
it’s a multi-format entry-level broadcast
monitor with all the essentials needed
by TV stations at a very low cost.”
Meanwhile, Osee’s high-end line
includes the XCM series, which features
accurate colour reproduction capability,
high-calibre 3D calibration, along with
Companies are rolling out new
broadcast monitors designed to
work with new formats such as
4K/Ultra HD.
Osee’s LMW series are multi-format entry level broadcast monitors with every essentials
needed by TV stations at very low costs.
a number of advanced features that
suit post production, onset shooting
and more.
Zhang adds that although features
vary from one series to another, Osee’s
LCD monitor family shares one thing
in common — that a high signal pro-
cessing engine has been incorporated
in all monitors.
“The signal quality can exhibit to the
highest level from our LCD racks, PRM
and LMW series along with our middle
range of BCM throughout to the highest
end of XCM,” she explains. “No matter
which series of monitor the customer
chooses, he buys a quality-guaranteed
monitor from Osee. This is what sets
Osee apart and this explains why our
customers prefer to use Osee monitors.”
Zhang says that Osee has a large base
of customers spanning Asia, Europe
and the Americas, which include the
BBC, TRT, France TV, Singapore’s
Mediacorp, India’s Doordashan and
Hong Kong’s TVB.
Meanwhile, other companies are
also rolling out new broadcast monitors
designed to work with new formats
such as 4K/Ultra HD (UHD). In 2014,
Canon made its entry into the produc-
tion display market with the launch of
the DP-V3010 — a 30-inch reference
display specifically designed for colour
grading and high-quality 4K/UHD
video production.
According to Canon, the DP-V3010
is the company’s way to show its con-
tinued commitment to the broadcast
and cinema industries, as the DP-
V3010, together with Canon’s Cinema
EOS System, offers a “first-class” in-
put-to-output solution for 4K/UHD
digital cinema and wider video produc-
tion workflows.
With a technical specification de-
signed to provide repeatable, accurate
output, the DP-V3010 is optimised
for use in scenarios such as colour
grading, where overall image quality
and consistency are of paramount im-
portance. Its ability to natively display
high-resolution 4K/UHD images and
a range of colour options means that
the DP-V3010 is also well suited for
use on-set or on location, and for other
digital imaging tasks including CGI
work, computer-aided design and 3D
animation.
Last year, Canon also released the
smaller DP-V2410 4K/UHD reference
display, which has been engineered
for use on-set or on location in both
broadcast and cinema productions, and
to provide accurate and reliable output
of 4K/UHD content.
Sitting alongside the DP-V3010 in
Canon’s 4K/UHD reference display
range, the DP-V2410 promises to de-
liver “stunning” 4K/UHD 4096x2160
resolution with “incredibly accurate”
colour reproduction, facilitating live
shooting for quality control, focusing