Eizo - DIGITAL PRODUCTION https://digitalproduction.com Magazine for Digital Media Production Mon, 24 Nov 2025 16:18:05 +0000 en-US hourly 1 236729828 SDI inside: EIZO’s CG2400SV aims at serious video work https://digitalproduction.com/2025/09/02/sdi-inside-eizos-cg2400sv-aims-at-serious-video-work/ Tue, 02 Sep 2025 08:37:56 +0000 https://digitalproduction.com/?p=197587 A professional monitor displaying a lively performance at a championship event. A dancer in a red outfit is featured on stage, with a scoreboard overhead reading 'LIVE'. Subtitles show viewer reactions to the performance.

SDI, HDR, 10-bit colour, and a carry handle: EIZO’s new 24" ColorEdge CG2400SV is aimed at post houses, studios, and on-set use.

The post SDI inside: EIZO’s CG2400SV aims at serious video work first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

]]> A professional monitor displaying a lively performance at a championship event. A dancer in a red outfit is featured on stage, with a scoreboard overhead reading 'LIVE'. Subtitles show viewer reactions to the performance.

EIZO has introduced the ColorEdge CG2400SV, a 24.1-inch monitor designed specifically for postproduction, broadcast, and on-set workflows. It is the second EIZO monitor to feature SDI input and output, following the larger CG3146. The CG2400SV supports 3G-SDI Level A and HD-SDI, providing uncompressed video transfer for use with camera systems and live feeds. HDMI and DisplayPort are also included.

A black computer monitor with a sunshade attachment at the top, designed to reduce glare and reflections, showcasing a sleek and modern appearance on a circular pedestal base.
A computer monitor displaying a black screen with a red letter 'U' in the center. In the lower right corner, there is a small inset showing a color spectrum chart and a brightness indicator.
A professional monitor with a matte black exterior and a sunshade attached to the top, designed to reduce glare. The monitor features a round base and a minimalistic front, with visible buttons along the bottom edge.
A close-up view of the back panel of an electronic device, featuring various ports including two antenna connections, a HDMI port, a display port, and two USB 3.0 ports, all set against a dotted metal background.

Designed for HDR and colour-critical work

The CG2400SV targets HDR video applications with a peak brightness of 400 cd/m² and a contrast ratio of 1800:1. It supports both HLG and PQ gamma curves, meeting DCI specification requirements. EIZO states that the monitor covers 98 percent of the DCI-P3 colour space and supports the BT.2020 standard. It features 10-bit colour rendering and a 16-bit 3D LUT for accurate colour reproduction and smooth gradients. EIZO specifies that the monitor is suited for colour-critical applications such as editing, grading, and live broadcast monitoring.

Calibration: built-in, automatic, and networked

Like other models in the ColorEdge line, the CG2400SV includes a built-in sensor for automated self-calibration using EIZO’s ColorNavigator software. The monitor can be managed via EIZO’s ColorNavigator Network for remote quality control across facilities.

An API allows third-party applications to access monitor management and calibration functions without needing to launch EIZO’s own software. EIZO highlights a “Pixel Inspection” tool for checking signal processing accuracy within the pipeline. This feature is intended to assist in quality control workflows.

A sleek black computer monitor viewed from the side, showing its slim profile. The monitor's stand supports it, and ports including USB connections are visible on the rear side.
A side view of a sleek black monitor displaying its thin profile. The stand supports the monitor, showcasing ports and buttons on the back. The design emphasizes modern aesthetics suitable for an office or home workspace.

Physical features for mobile workflows

The monitor’s 1920×1200 resolution panel uses IPS wide-gamut LCD technology. The aspect ratio is 16:10. A carry handle is built into the chassis for transport, aimed at mobile setups and tight spaces such as control rooms.

The back view of a computer monitor showcasing the mounting arm and various connectivity ports including USB outlets, positioned against a sleek, black background.

The enclosure is manufactured from more than 85 percent recycled plastic, and the packaging is made from moulded pulp derived from recycled cardboard and newspaper.

Included accessories are a shading hood and a headphone output. The display also features a digital uniformity equaliser to maintain consistent brightness and chromaticity across the panel.

Specifications at a glance

FeatureSpecification
Display TypeIPS LCD, wide gamut
Screen Size24.1″
Resolution1920 × 1200 (16:10 aspect ratio)
Colour Depth10-bit display
LUT16-bit 3D LUT
Brightness400 cd/m²
Contrast Ratio1800:1
Colour Space Coverage98 % DCI-P3, supports BT.2020
HDR SupportHLG and PQ curves
Inputs3G-SDI Level A, HD-SDI, DisplayPort, HDMI
OutputsSDI
CalibrationBuilt-in sensor with ColorNavigator software
Remote ManagementColorNavigator Network
API AccessYes, for third-party integration
Quality Control ToolPixel Inspection
Uniformity TechnologyDigital Uniformity Equalizer
Headphone OutputYes
PortabilityIntegrated carry handle
Environmental Design>85 % recycled plastic, moulded pulp packaging
AccessoriesLight-shielding hood included
Warranty5 years, with on-site exchange
AvailabilityExpected December 2025
Price€1,899 (MSRP)

Availability and pricing

EIZO plans to ship the CG2400SV from December 2025. The manufacturer’s suggested retail price is €1,899. The monitor will be on display at IBC 2025 in Amsterdam (Hall 7, Stand D33).

As always, innovations and specifications should be tested in your actual production environment before deployment.

The post SDI inside: EIZO’s CG2400SV aims at serious video work first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

]]> DIGITAL PRODUCTION 197587 Digital Production 2023, the second! https://digitalproduction.com/2023/03/03/digital-production-2023-die-zweite/ Fri, 03 Mar 2023 10:30:08 +0000 https://www.digitalproduction.com/?p=115210

And here is the spring edition of DP! On board this time: Emil / MaxR at the Filmakademie, Nuke 14 (including part three of the best little helpers) and a big workshop on BMD Cloud. For those who prefer to read about projects: Trixter's work on Shehulk, a dialect comedy in HFR and two award-winning student projects from HFF Munich.

The post Digital Production 2023, the second! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

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Still not enough? We test the “Stable Release” from Cascadeur, play hands-on with an RTX 4090, Graden Remote with Colourfront & Pharos, test Creation FX and see whether Insta360 version 3 is finally “good”. We also talk about dinosaurs, Omniverse, Daniel2 and dinosaurs. Is that enough to get you out of hibernation?


Trash, Dance & Robots: What’s the story behind the tin mate on the cover? It’s a first-semester (!) project at the HFF – and there’s a lot behind it! A robot invites you to dance. (S. 128)

DP is looking for colleagues!

Do you have ideas about which stories are still important for every issue of Digital Production? Are you tired of the daily grind of production and want to tell stories instead? Then send me your application – DP is looking for an editor! Mail to: ichwillkatzenbilder@digitalproduction.com

Insta 360 – drone in style

360° video is nothing new anymore – but in version 3, there’s now a camera to recommend! (S. 6)

Training for a greener future

VP is climate-friendly – sounds strange, but it is. The Filmakademie BaWü and its partners are setting out to realise the pipelines of tomorrow. (S. 12)
Links to the article:
https://is.gd/green_shooting/acm.org

http://max-r.eu

The miracle of virtual production

Beyond the hectic hype, we talk to Michael Coldewey about virtual production and how we now have to learn to deal with it – and where the next generation is. (S. 18)

That girl is green!

There are people who take comic books too seriously, and there are those that love the She-Hulk-Series. And guess who made the giant and the Abomination? Trixter! (S. 24)

Eizo vs. LG

The Eizo CG2700s is the dream of many colour enthusiasts – but what makes it better than an LG, for example? And what does the built-in probe do for (or against) it? (S. 30)

Creation FX – creative templates!

We all know and loathe templates that are always the same – wouldn’t it be cool to have a flexible system for AE that is also easy to use? (S. 35)

Links to the article: https://www.creationeffects.com/
http://postproduction-tutorials.net

RTX 4090 practice with Houdini and Resolve

Olaf Finkbeiner throws in the towel – and sees how it falls! A practical test beyond benchmarks and deep into the VFXer’s toolbox. (S. 46)

Links to the article:
http://is.gd/bequiet_psu
http://is.gd/bequiet_invert
http://is.gd/zotac_4090_trinity

Collaboration with Blackmagic Cloud

Collaborating in Resolve is possible – but how exactly? Bernd Klimm takes us by the hand and shows us where the shortcuts and pitfalls are. (S. 52)

Links to the article:
https://vfxstudy.com

CityEngine meets Omniverse

Omniverse talks to everything – right? We ask our friends at CityEngine how to imagine this conversation. (S. 69)

Nuke Tools 3 – Channels, Passes and Mattes

In part 3 of the toolbox, we open up the compartment of channels, passes and mattes – with labels, contact sheets and more! Or do you label everything by hand? (S. 72)

Grading in pyjamas

Working remotely – the dream for colourists. This is now possible – Pharos relies on colourfront streaming and reports on how it works. (S. 75)

Magic Nodes v1

The best of both worlds – Node-based compositing in After Effects. Can it work? Andreas Zerr sees if it works – or if we should wait until the update. (S. 80)

Links to the article:
http://hollywoodillusion.com
http://www.stern7.com

What’s New in Nuke 14

Foundry shakes the foundations. Not really, some cellar compartments simply had to be cleared out – Christoph Zapletal looks at what was left. (S. 84)

Higher frame rate in the face of death

HFR has become deadly quiet – except in a charming dialect comedy that played it out in 2022 – and reports on it. (S. 96)

Video for the article: http://is.gd/hfr_vergleich

Video Packaging Unveiled

Sure, we push a few frames back and forth – but what tech do you use when you have to push Netflix-sized amounts? We talked to the founder of GPAC. (S. 108)

When dinosaurs ruled the screen

How do you describe working in “VFX”? “We make Dinosaurs” – and here we are talking to Glen McIntosh, the lizardwrangler for the recent Jurassic movies. (S. 114)

Cascadeur

After a three-year beta phase, the “final” version of the keyframe animation software with AI support has finally been released. Was it worth the wait? (S. 122)

Trash, Dance & Robots

What’s the story behind the tin mate on the cover? It’s a first-semester (!) project at the HFF – and there’s a lot behind it! A robot invites you to dance. (S. 128)

Planet B

“There is no Planet B” – we’ve all heard that statement. Second-semester students at the HFF take a look at what this can mean (p. 140)

The post Digital Production 2023, the second! first appeared on DIGITAL PRODUCTION and was written by Bela Beier.

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