Sony shows us their new 4K OLED master reference monitor with high dynamic range, more vivid image and several other features that make this a “go-to” monitor.
PostProduction.Com: This is Noland with PostProduction.Com. We're here at NAB Show 2015. We're at the Sony booth and we have Gary. Gary is going to tell us about these monitors and what's happening with this thing. They look awesome but what's the setup all about?
Gary: Well this is new this year. This is our BVMX 300 which is a 4K OLED Monitor for master reference. It's got a couple of things to it. One of them that we're demonstrating here is called High Dynamic Range. As you look at it, the one on the left is what we're working with, we always work with. But the one on the right is in High Dynamic Range which means it's a brighter display but we mapped the way that the data goes to the panel differently.
So what this does, this gives you much more vivid image, you could see much more detail. We can take the highlights in the picture and accentuate them then you'll have a much more realistic view of what we have.
PostProduction.Com: Gary, If I can ask a question, these as the same monitors, exact same monitors? It's just something you've done on the inside to make this one so much clearer?
Gary: Actually they are the exact same monitor, all it is is really the content and the settings of the monitor. It's really that simple.
PostProduction.Com: Wow. So that's something that you've done with this High Dynamic Range. What is it that you did to make it do that?
Gary: We did a lot. The way we're showing this is we have what's called the Transfer Function. And it's called S-log 3 and that's how it comes out of our cameras. All this is, is we take that and invert it. So, on the camera output, all these cameras can go 14, 16 stops, and in a standard dynamic range, you never could see all that. So what we do is the monitor has much more brightness range in the panel and we can take all the information now and display it using an inverse of that S-log 3.
PostProduction.Com: So what does the colorist need to do to utilize this?
Gary: Really nothing.
Gary: Colorists obviously has to do the color. But, there's no difference in the equipment. So in your color correction equipment, your terminal equipment, none of that changes. It's really simply the acquisition side and on the display side.
PostProduction.Com: Oh, wow. So it does have to be shot in a certain way for it to turn out like that?
Gary: Right. So in the camera, you're going to need a camera that has a much wider range of acquisition in order to capture all this information.
PostProduction.Com: Excellent. Cool. What do you find people using this for?
Gary: This is a master monitor. This is going to be in very high-end QC, review, color checking, color correction. This is your go-to monitor. Of anything in the house that you want to make sure what color it is and how it really looks, this is where you're gonna go.
PostProduction.Com: That's the one.
Gary: That's the one.
PostProduction.Com: Cool. When people want to find out more information about this, where would you like us to send them?
Gary: The best place to go is www.Sony.Com/oled and it'll take you right there.
PostProduction.Com: Awesome. Gary, thanks so much for your time. Really appreciate it.
PostProduction.Com: Enjoy the show!
Gary: Thank you.
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