boland lcd monitors quotation

For almost Twenty Years, Boland has been creating high quality, professional broadcast monitors for film, television, aviation, and specialty needs. We are constantly pushing the LCD / monitor boundaries in new technology, outfitting our LCD monitors with the widest color gamut and ultra deep blacks. Red, green, and blue stability is guaranteed by All-Digital 12-bit Processing. Whether you are in need of a field monitor that is color critical, a low cost SDI monitor for simple confidence monitoring, or a broadcast monitor with built-in waveform, vector scope, and audio meters, Boland is proud to offer all of these options (and more).

The PVB17 is perfect for in-field production, on a stage, or in a rack. 3G SDI, HDMI, Composite video and an array of other digital and analog inputs can be used on this lightweight production monitor, which also features waveform and vector scopes, 16 channel audio with meters and onboard speakers, and dual PiP (including dual SDI). SMTPE 709 High & Standard Definition Video LCD Monitors 1080/720/576/480

Boland Communications manufactures Broadcast quality LCD monitors with multiple inputs including: 3G/HD/SDI, Composite, DVI, HDMI, and VGA. Boland is constantly pushing the boundaries in new technology, and our color stability is guaranteed by All-Digital 12-bit Processing. From 72" extra-large screen monitors to light-weight field monitors with waveform and vector scope, Broadcast to Aviation to digital signage to custom work, we offer multiple options, timely delivery, long warranty, friendly customer service & Made in USA!

An interview from the 2017 National Association of Broadcasters Convention in Las Vegas with Gary Litwin of Boland Communications. Boland Communications manufactures Broadcast Quality LCD, LED & OLED monitors with multiple inputs including: 3G/HD/SDI, Composite, DVI, HDMI, and VGA. Boland is constantly pushing the boundaries in new technology, and their color stability is guaranteed by All-Digital 12-bit Processing. In this interview Gary talks with us about a new 4K Pro Broadcast Monitor with HDR Support.

One of the most searched for and hotly debated topics on colour grading forums, websites, podcasts and tech shows is that of “Affordable Colour Grading Monitors”.

The monitors are listed by brand in alphabetical order but be sure not to miss the final section on LG OLED TVs and their new 32 inch OLED computer monitor.

Unsurprisingly, I haven’t personally purchased all 14+ monitors in this post to compare them side by side after extensive testing, but I hope this comparison of the listed specification and detailed information on the things to consider when buying an affordable colour grading monitor, leaves you better informed to make your own decision.

TLDR: When you put ‘affordable’ in front of colour grading monitor, this is like saying ‘affordable luxury car’, the real deal is expensive for a reason. Professional reference monitors cost many (tens of) thousands and can be calibrated to a fine degree with an equally expensive specialised probe by a fully qualified technician, for a reason.

But that is not what you are looking for when you Google “Affordable colour grading monitors” so with that in mind check out the ASUS Pro Art PA329Cor the LG 32BN67U-B for 32″, true 10 bit, UHD monitors with solid colour accuracy at an ‘affordable’ price.

You may also find it helpful to read these two other posts: How to use an OLED in Post Production and a detailed round up of 4K Video Editing Monitors.

That said, colour-critical monitors which can be accurately calibrated and will get you most of the way there, are now very ‘affordable’, for example $1000-$3000 instead of $6000 – $30,000.

The Flanders Scientific DM170 drops down to a bargain price of $3,495 for a 17″ 1920 x 1080 10bit LCD display. For comparison the cheapest FSI monitor is the 2021 AM211, a 21.5″ HD 8bit monitor for $1,995.

One benefit of buying a cheaper model from a more expensive brand is the trickle-down tech effect, where the AM211 features a “new backlight uses a very similar LED element to that found in our higher-end DM170, DM240, and XM310K monitors.“

Watching a colorist and a calibration technician judge a collection of different monitors whilst sat directly in front of them, is another really helpful place to start.

In the course of about 50 minutes Colorist Warren Eagles and Stuart Pointon cover the monitors listed below as well as five ‘monitor myths’ such “It’s just for the internet so I’ll colour grade it on my laptop…”

Contrast Ratio – This will probably make the biggest difference to your perception of the images on display. Glossy displays tend to have a higher contrast ratio than matte displays. According to chapter 2 of Alexis Van Hurkman’s Color Correction Handbook 2nd Ed. (paraphrasing here) for an LCD display 1400:1 (glossy) or 1100:1 (matte) or better, is a good ball park. For OLED 5000:1 is a good ball park.

Black Levels – Having deep blacks is what colorists are always looking for, not muddy grey ones. Deep gorgeous blacks with plenty of detail still in them. Partly this impacts on your perceived contrast and partly it’s a sign of a good display panel. OLED panels beat LCD in this and the contrast department.

Brightness – SDR (Standard Definition) is mastered to a 100 nit brightness range. HDR is usually mastered to 1000 or 4000 nits. True HDR reference monitors are incredibly expensive. My focus in this post is on SDR use-cases.

1D vs 3D LUT – Even if your display can be calibrated the precision with which that can be achieved will be dictated in part by the complexity of the calibration LUT, which bridges the gap between the colours the display is receiving and what it should be sending. A 3D LUT is preferable for colour accurate calibration.But only a few monitors make this user accessible.

Colorist David Torcivia has a really helpful explanation of some of these key terms in the first of his two-part post on Colour Grading Monitors. He also offers some practical suggestions on how monitors of different capabilities will alter your image, according to their specification.

In part 2 of his post David considers several professional monitors that he thinks you should be saving up for including brands such as Flanders Scientific, Dolby, Panasonic, Sony, HD2Line and a few others. All in all, very much well worth listening to what a professional colorist has to say on the matter.

In all of my research of the ‘best colour grading monitors’ or the best ‘video editing monitors for 2021’ most sites are still recommending monitors which are not true 10-bit, but rather 8bit +FRC.

At long last we have come to the point where I round up a few potential high-end computer monitors and suggest that you use these as a pretty good way of viewing your images.

It goes without saying that there are likely plenty of other excellent monitors out there but I’ve chosen to focus on the main brands and models that I would most likely choose from, when selecting a new monitor, to use for editing and grading on my Mac Pro.

It’s worth noting that very few displays these days offer the 4096 x 2160 true 4K resolution, but the price bump to monitors that do, doesn’t seem to be worth it.

Having considered the spec of all the monitors in this list the ASUS Pro Art PA329C (2019) is my top pick for the specification it delivers at an affordable price for a colour accurate monitor.

There are a couple of BenQ monitors that look like they would be good contenders for our needs; the BenQ PV270 (2016) that Warren and Stuart mention in the monitor shootout (above) stating that it “Calibrates really well“, which was replaced by the SW271C in 2020, as well as the larger SW321C (2020), the PD3220U (2018) and the newer PD2725U (2021).

Although it doesn’t have a Thunderbolt 3.0 port to help connect multiple monitors, this isn’t a big problem for me as a 32″ display is all I can fit on my desk!

The BenQ monitors I have included now come with a ‘Verified by Calman’ certificate, which you would hope means that they stand a chance of being colour accurate in the real world.

Eizo monitors have always seemed like a premium option to me, whenever I ran into one at a post house or client edit suite. They always looked great and had professional calibration features and options at hand.

Then we get onto the sensors, with the CGs having a self-calibration sensor allowing the monitor to be calibrated without the need of an external device, whereas the CS monitors can be calibrated, but only using an external device such as a Spyder or iOne Display.

HP offer a wide range of monitors creative professionals might be interested in under their Z Displays series, a subset of which are (more well known) Dream Color monitors.

I’m writing this on my (now discontinued) LG 31MU97B 10bit 4K (4096 x 2160) monitor, which I have loved using for the past few years. From my experience, LG monitors and OLED TVs are superb.

In this last but not least section of the post, I’m going to cover LG’s OLED TVs, their brand new OLED monitor and some of their ‘regular’ computer monitors too.

The LG 55″ OLED TVs are incredibly popular with editors and colorists as client monitors, and suffer less from uniformity issues than the larger 65-88″ screens. You can also calibrate them to a professional standard and each year LG seems to add further functionality to assist with this.

LG are launching two new OLED Monitors in 2021, the 32″ EP950 and the 27″ EP950. If they have essentially the same spec other than the screen size it will be:

I wanted to include them here as a potential nod to the future and it will be interesting to see how they compare to other similarly priced mini-LED monitors designed for professional HDR use. (See next section below)

Some high end computer monitors feature in-built calibration devices, although one would (safely?) assume that a dedicated probe will deliver far better results. The two main industry standards are Light Illusion’s ColourSpace and Portrait Display’s Calman.

The X-Rite i1 Display Pro Plus is the most recommended low-cost probe, and some of the HDR monitors above, for example the ASUS ProArt ships with one included. Warren and Stuart discuss working with the X-rite probe and how to ‘hack’ it here. But the safest bet is to buy a Rev.B OEM version from LightIllusion. I would recommend reading this entire thread on LiftGammaGain to discover the ins and outs of that.

Most ‘lower-end’ monitors can only leverage 3x1D LUTs instead of the more comprehensive 3D LUTs, some of these are only accessible to the internal (own-brand) calibration software, as opposed to accessible to something like ColourSpace or Calman.

Colorist Patrick Inhofer from Tao of Color.com, recently interviewed Bram Desmet, CEO of Flanders Scientific, on the detailed technical ins and outs of calibrating a monitor. If you want a lot more details than I’ve included in this post, and to learn a tremendous amount about the current state of grading monitors and calibrating, you should definitely take the time to listen to both interviews.

Boland Communications provide customers with premium quality LCD monitors available in world wide formats. You’ll see amazing images with enhanced Ultra Pixel picture quality in varying light and viewing conditions. Boland is constantly pushing the boundaries in new technology, outfitting our LCD monitors with the widest color gamut and ultra deep blacks. From the Full Resolution 42 ” monitors to the smallest and light-weight field monitors, you can count on Boland image precision.