4K HDR Broadcast Monitor
- Screen Size: 23.8″
- Native Resolution: 3840×2160
- 540nits High Brightness
- Covering 98%DCI-P3 Gamut
- 4 x 12G SDI inputs with loop output, supporting 8K SDI signal input; 2 x HDMI 2.0 inputs; 1 x fiber SFP input; 1 x Type-C input.
- Supports PQ & HLG HDR curves.
24inch 12G-SDI 4K HDR Broadcast Monitor
ZVM-U240 is a broadcast-grade 24-inch 4K HDR monitor with a UHD (3840×2160) screen, covering 98% DCI-P3 color gamut. It supports 4 x single-link 12G-SDI, 4 x quad-link 3G-SDI, and HDMI 2.0 signal inputs. The monitor features high-precision 3D LUT with tetrahedral interpolation algorithm, and supports various HDR formats such as SMPTE ST2084 (PQ) and hybrid log gamma (HLG). It also supports various Gamma curves and professional features such as camera Log, making it widely used in pre-shooting and post-color correction for broadcasting, film, and high-end commercial productions.
HDR（High Dynamic Range Imaging）
Supports HLG (1.0, 1.1, 1.2, 1.3, 1.4, 1.5) hybrid log gamma HDR and ST.2084 Dolby Vision PQ HDR.
Support Sony S-log3 HDR.
4 channels of 12G-SDI loop out; supports 8K input and four-link 4×3G-SDI; SQD four partition and 2SI two sampling interlacing.
HDMI2.0Supports two HDMI2.0 inputs and can select contrast monitoring in the multi-screen function. SFP optical moduleFiber optic transmission of 12G SDI signal, solving the problem of long-distance transmission, providing convenience for on-site production and system integration. USB Type CUSB Type C interface can be used as an extended screen for Apple computers, allowing mobile devices to be directly displayed on screen. Widely used in live broadcasting and other industries.
High-precision 3D LUT that supports tetrahedral interpolation algorithm; supports the UK Light Illusion color calibration software, allowing users to load LUTs themselves and achieve personalized color monitoring according to their own style.
By enabling the multi-screen mode, users can load HDR effects on the same or different video signals, achieving simultaneous comparison and monitoring of SDR and HDR signal effects.
This feature greatly facilitates post-production personnel, making it easy to distinguish between different HDR and SDR output effects, and it is an effective tool for film production and broadcasting.
“Camera log mode” normalizes the uncolored images for quick image restoration and monitoring. Please select one of the following modes:
- SLog3 To LC-709TypeA
- SLog3 To SLog2-709
- SLog3 To Cine+709
- SLog3 to Rec709
- SLog2 to Rec709
- Canon Log to Rec709
- Canon Log to Cineon
- Arri LogC to Rec709
- V-Log to V-709
- User Log
Electro-Optical Transfer Function” (EOTF).
Gamma can be set to the following parameters:Gamma2.0、Gamma2.2、Gamma2.4、Gamma2.6、SMPTE ST 2084(PQ)、ITU-R BT.2100(HLG)、S-Log3、Canon Log、User Gamma LUT1-4
The waveform graph is divided into four types: brightness, component, RGB, and RGB overlay. By analyzing the distribution of pixels in the waveform, the information of the picture can be displayed accordingly.
The waveform is primarily used to analyze the exposure of the image. The waveform graph is divided into X and Y axes, with a range of 0 to 1023 on the Y-axis.
Using the waveform, it is possible to understand the distribution of brightness in the image and adjust the camera exposure and on-site lighting to achieve the best shooting effect.
Vector scope is a tool for analyzing the color bias, color distribution, and saturation of the image based on the color wheel. The vector scope has a center, which is the origin of the circle. Points that are away from the center correspond to the color in that direction, reflecting the hue of the responsive pixels in the image. The color and saturation of the image are represented by a waveform in the vector scope. The higher the saturation, the more the waveform stretches out, and the lower the saturation, the more the waveform compresses inward.
The histogram is divided into X and Y axes, but it does not have a one-to-one correspondence with the image displayed. It primarily reflects the accumulation of pixel values from dark to light in the image and is used to analyze exposure. It can also be used to analyze color balance and brightness overexposure.
The waveform is presented from left to right. The X-axis reflects the brightness of the image. On the left side of the X-axis is the dark area, with a value of 0 indicating pure black, and on the right side is the bright area, with a value of 100 indicating pure white. The Y-axis reflects the distribution of pixels from dark to light in the image. Each pixel in the image forms a waveform by stacking according to its brightness. The higher the waveform on the Y-axis, the more pixels in the corresponding area on the X-axis, and the lower the waveform on the Y-axis, the fewer pixels in the corresponding area on the X-axis.
Supports multiple multi-screen modes, including dual-screen, triple-screen, and quad-screen, allowing simultaneous monitoring of multiple signals.
Display corresponding false color images for different exposure levels in the image to assist photographers in controlling the correct exposure rate for the shooting scene. The false color function is commonly used in studios and TV commercials to adjust camera exposure and studio lighting based on color, in order to achieve the best shooting results.
The color gamut warning function is a guarantee for post-production and safe broadcasting. By enabling the color gamut warning function, images and videos in the Rec.2020 color gamut that exceed the Rec.709 color gamut can be clearly displayed, allowing post-production and broadcasting personnel to grasp the final effect of the film and the client’s broadcasting effect.
Zorenview monitors use ColourSpace CMS and Klein K10-A as tools for color calibration. The most visually impressive capabilities within ColourSpace revolve around the unique graphics capabilities, combined with interactive data manipulation, with 3D CIE, XYZ, and normalised Colour Space Graphs, including Error Tangent lines and colour coded measure points.