boland lcd monitors factory

HDTV. Auto-detected. NTSC Y/C filter provides full resolution Reclock/regen output(s). • customer support BOLAND COMMUNICATIONS Boland provides a full range of support from sales through installation (949) 465-9911, or application of our products. We are here to (800) 918-9090, help.

High Bright Monitors Description The High Brite Option is a factory-installed accessory for an LCD video monitor to boost its brightness to full daylight readability. The 12 and 15" displays are specified at about 1800 nts (cd/m²). Operation In addition to the standard button controls of a normal monitor, a knob is added to the front panel to control the brightness of the internal lamps.

All monitors with a serial number less than 009001, manufactured before April 2005, carry their original one year warranty. In the event of a repair under this warranty, Boland"s sole obligation is to replace or repair, at Boland"s option, any Product free of charge. Any replaced parts shall become Boland"s property.

An interview from the 2016 NAB Show New York 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 the new BVB-OLED Monitors, the 55 inch & 25 inch.

When Boland began to develop the BVB-OLED Series, they asked themselves which monitor features are most important to the world of professional film and television. Was it color accuracy? Yes. Was it a full complement of scopes onboard? Of course. How about the ability to display 4:4:4 signal? Absolutely.

The lightweight Boland BVB55 OLED Monitor is workhorse suitable for production just about anywhere you can set up a viewing room, and no matter where you are in the production process. It offers more consistency over smaller OLED panels, producing better images on its larger 55-inch diagonal panel size, along with the grades and look management that have been approximated on the set or that need to be applied to your content.

When I come to Vegas, pressing the 6 and putting a hundred on a hard eight is a gamble I"m willing to make. But, when it comes to equipment, like monitors, I don"t gamble on picture quality.

Since the end of the CRT I have been looking for a monitor that can compare in picture quality, black levels and off axis of viewing. I can assure you that search is a painful and endless effort. One must eventual come to the conclusion that there are no LCD or Plasma monitors that compare to the original Sony BVM CRT"s.

At Chop House Post we use a combination of projector for the DI room, TV Logic 42" LCD for the Smoke finishing rooms and Panasonic Plasma"s for the offline edit rooms. With Digital Factory I have installed TV Logics at Paramount and AOL; Sony LCD"s for shading rooms in the studios; and most of the HD trucks we build with Marshall rackmount monitors.

This year at NAB I did a monitor evaluation of the following maufacturer"s Sony; Boland; TV Logic; Panasonic; Canon; and Marshall. And the winner is... just kidding. Before I do, we need to qualify a few things. First we should agree that the LCD monitor solution that is being offered by all will never be the same as a CRT. Second, when I am looking at monitors I am mostly interested in Color Critical viewing.

I started at the Boland booth and spoke with Gary Litwin. He showed me the new SE series of monitors boasting full 10-bit color space, 1920x1080, 1300 to 1 contrast ration, 178 degree off axis viewing and over a billion colors. "You know what cooler than a million? A billion." The Boland monitors look really nice and range in sizes from 24" all the way up to 70". Clients wont be complaining about looking at a 70" rec 709 monitor, will they.

Right next door to Boland was the TV Logic. They have a new XVM series color critical monitor. I was looking at a 32" LVM next to a 32" XVM and I could not see a difference. I ask the salesman if could see a difference and he explained that the LVM is 8 bit processing and the XVM is 10 and 12 bit. contrast ration and color space matched the Boland and both offer an LED back lighting.

Next up was Panasonic. in the LCD world they have the BTLH monitor series. I have seen this monitor in many edit bays, but I for one am not a big fan. For my eyes the black levels and the white don"t look as good as they do on the TV Logics and Boland. Also, Panasonic only goes up to a 25" monitor and for client monitors I like to at least be over 42". But they have made some nice impovements on their TH-50T300U plasma monitors. I have seen the plasma"s used around Hollywood in some top facilities and this is a nice option especially when you add the HD SDI input card. The liquid blacks of the plasma still look better than LCD"s

3 years ago I walked into the Sony booth and said show me your LCD solution that you plan on selling to replace the CRT"s. They hadn"t quite caught up to other LCD manufactures and what they had was not impressive at all. Especially as they were still trying to sell it at the CRT price. This year I was blown away by the Sony Trimaster EL. Hello blacks, where have you been. Right in front of my eyes I see liquid shiny blacks and off axis viewing just like in the old CRT days. Sony is using OLED technology to get deep blacks with high dynamic range. I was able to wipe the drool from my mouth using the monitors $26k price tag.

Last stop was Marshall monitors. Marshall has always been the option I would use for installing in racks and trucks. I love the quad monitor. They fit perfect in a rack with 4 AJA Ki Pros. Looks slick. The new thing with these guys is waveform monitor vectorscope with RGB parade. So here is what I was thinking. Pick up a V-R72DP-2C, that"s the dual 3 RU 7" monitor for $1999 and put the vectorscope on one side and the waveform on the other and you have scopes for color grading and post for under $2k. Of course you could just by a videotek, or a techtronix, or a leader for over $12k and do the same thing if you want. I"m looking to get a 17" DLW series and put it on the desktop for audio meters, waveform, and vector all under 4k.

All right, I am done talking monitors. I know I promised you a winner. So here it is. They winner is... all of them. Don"t get mad, hear me out. In terms of having a great Rec 709 monitor for a super price Boland is the winner hands down. Pound for pound with the technology being the same no one can compare to the price point that Boland is offering. Plus they have a bunch of really cool guys that are always willing to help out. The winner for best picture is Sony as soon as I can offord it I want a trimaster. But if I can"t, a lot of my clients can and I will be recommending it for use in color suites and shading stations. And finally, the best quality scopes with full RGB parade goes to Marshall. I used to put in a rack moun rasterizer and then feed the DVI output into a Marshall monitor for a cost of $20k. Now I can do the same thing for under $4k and it looks exactly like the $20k option.

LAS VEGAS -- The competition to establish AMOLED as the display technology for the next generation of critical broadcast evaluation monitors has been tempered by improvements in LED/LCD displays that are starting to exceed human visual acuity. But at the NAB Show we can also expect to see hordes of mammoth video displays that are starting to exceed human visual appreciation.

Ikegami’s HLM-5003WR triple-screen monitor Ikegami will bring an advanced range of HD flat panel LCD monitors, including the 50 Series “high-class” displays and 04 Series of economically priced displays. These will be joined by the HLM-7002WR dual 7-inch and HLM-5003WR triple 5-inch monitors.

Marshall Electronics will debut its V-R902-DLW Dual 9-inch (1280x768) display monitor the latest addition in its line of IMD (In-Monitor Display) Monitors. The V-R902-DLW monitor includes Dual Link with Waveform & Vectorscope, incorporates a 10-bit “no compromise” video path and is equipped with 3G capability.

Plura will highlight their SFP-232-3G 32-inch 1920 x1080 precision broadcast LCD series. The SFP-3G units adapt to various Plura SFP modules to fit any broadcast requirement. Units support up to 3 Gbps, 1080/60P video, along with all other digital and analog inputs and formats. The SFP- 3G series can convert a SD/HD/3G input to an HDMI output.

- supports chaining over Display Port up to 4 monitors but past 2 monitors Display Port does not have enough bandwidth to drive 3 or 4 monitors at full resolutions. This is not HP’s fault for the version of Display Port they are using that’s the max. Newer monitors may support newer versions that allow better but you may also be limited by the graphics card in your computer.

This monitor is excellent. I too bought it based on Wirecutter article and after researching tons of options (HP makes way to many monitors as do most without a lot of differences). This was a little more than I wanted to pay but I"m glad I did. Out of the box this monitor came with a factory calibration sheet. It was pretty much dead on for me with the only adjustment I made being turning down the brightness which is super bright out of the box. I have seen no ghosting mentioned here or in Wirecutter article. Adjustability is good and has plenty of port options and includes a couple of useful cables. I have also had no issues with app compatibility in Windows 10.

SEETEC Professional Broadcast LCD Monitor has been widely used in TV news production, broadcasting house, TV broadcasting truck and other fields. Since this series is working with other adjacent professional equipments, therefore, high stability, high reliability and electromagnetic compatibility are very important to make sure the whole system work smoothly.

More Precise Color Restoration: wide color gamut LCD panel ensure the monitor more precise color restoration exquisite picture quality more rich color levels.

4K215-9HSD-192-CO monitors feature clear LCD screens with tally so it"s the perfect solution for live broadcasts. Unlike a simple tally light, 4K215-9HSD-192-CO includes tally lights on the front and near panel displayed in red, green or yellow tally signal. This means during live production you will always know when you are recording or on-air, or you can see which camera is cued up on your switcher"s preview output. Tally is connected via an industry standard parallel pin connector on the rear panel.

Time and Costs are important for film crews. This becomes more obvious if there are frequent scene changes during production.The 4K215-9HSD-192-CO is based on how monitors are being used by film crews. Whether packing down or setting up a simplified design makes this monitor ready for use quickly. There are no complex setup processes to go through. This innovative design portable aviation aluminum case making it well suited for field production and handling to change the environments with speed.

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 and OLED monitors available in worldwide 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 their LCD monitors with the widest colour gamut and ultra-deep blacks.  Red, green and blue stability is guaranteed by the All-Digital 10-bit Processing.  From the Full Resolution 42 “ monitors to the smallest and light-weight field monitors, you can count on Boland image precision.  PAT is Boland’s authorised re-seller for Australia and New Zealand.

Professional Audio & Television has supplied Boland monitors to major broadcasters, post production houses and even aviation companies.  Boland’s product range covers applications for control rooms, remote and OB Vans, Film and TV Field Productions, ENG Vans & Helicopters, Inflight Entertainment and much more.  While most LCD Monitors have a span of the extended colour spectrum / Wide Colour Gamut of only 40%, Boland has a span of 72% to 100% with controlled SMPTE C colour temperature and 6400° white colour standard, providing deep rich colours.