A fully featured on camera field monitor PLUS
the benefits of a
$3000 reference monitor
The rainbow colored horseshoe shape is the CIE1931 COLOR SPACE chart. The dark grey triangle is the REC 709 standard, and the colored triangle on each is the monitor’s color reproduction when read by a color calibrating probe.
The DP7-PRO-OLED-SX monitor matches 99% of REC 709. This kind of color fidelity can generally only be found in Color grading monitors such as the Flanders CM170, listed above.
The DCI-P3 Digital Cinema color standard has a very wide gamut and is not easy to reproduce. Using the power of the DP7-PRO OLED panel combined with our advanced 3D Look Up Table Engine we are able to reproduce 97% of DCI-P3.
Again you can see that the DP7-PRO-OLED matches the DCI-P3 color gamut extremely well. This means you have a very accurate gauge on set of what your footage can look like when displayed on a digital cinema projector.
Unlike LCD, OLED pixels are like tiny red, blue, and green light bulbs. When they are all turned “off” (to represent “black”), they are literally producing no light. This is unlike LCD displays which try to “block” light (produced by a backlight) that is always trying to shine through. That’s why LCDs produce a glow even when attempting to show a completely “black” screen.
Above: Each OLED pixel consists of a red, blue and green LED which create white to the human eye when combined, and turn completely off when black. A literal absence of light makes for super-rich dark tones.
Above: LCD panels achieve colors by placing color filters (similar to lighting gels) over white backlight panels, meaning less efficiency and difficulty achieving pure black.
Above: Simulation of the difference in black level from the AC7 OLED to a traditional LCD.
A display’s contrast ratio is measured by a ratio of how bright a white pixel is compared to how bright a “black” pixel is. Because OLED’s black pixels are literally off, the contrast ratio is infinity-to-one.