Laboratory test on the ColorEdge 318-4K monitor by Eizo

Especially recommended for graphic production environments, when working with RGB or P3 colour spaces and where DCI-4K is a must. The high-performance monitor is capable of receiving and processing 10-bit signals, which ensures keeping all the colour nuances. Includes the ColorNavigator software by Eizo, that permits adjusting the monitor and selecting its operation mode


Laboratory conducted by Jesús Esteban

This is a high range monitor, the brand’s most sophisticated model yet, with a set of features that make it a great option, starting with its size, 31.8” and, then its resolution, 4096×2160, even higher than the standard 3840×2160 found in Broadcast monitors or desktop monitors for UHD. The 3840×2160 resolution is that specified by DCI for its 4K format, and therefore, it is the most suitable for cinematographic projects.



Its design permits a perfect height and inclination adjustment so that the vision of the image is the most appropriate for our position. It also includes a light-shielding hood, particularly useful in office environments where ambient light may distort the colours of the image. We must stress that we cannot totally prevent this colour distortion because the diffuse ambient light will always add to the image on the monitor, hiding the dark greys and colouring the entire image with the colour of the ambient light. The light-shielding hood evidently minimises this effect.



The monitor has two HDMI inputs and another two Display Ports, the most common standards. It can be connected to any computer because computers with DVI outputs are becoming increasingly rare and even more so those with VGA connections in professional environments. The monitor is capable of receiving and processing 10-bit signals delivered by the computer, which assures we do not lose a single nuance in colour.


When it comes to speaking about input connections, those of us that work with video could do with at least one HD-SDI connection. With the SDI output, the edition software controls all the variables of the signal, including the video levels, the resolution, whether interlaced or not, the number of images per second, etc.; but this does not happen with HDMI or DP outputs, soit seems impossible to be certain that what we see through the HDMI or DP output accurately corresponds to the contents of the video file we are viewing.



The monitor has an elegant button pad with a reasonably intuitive operation and a spartan yet clean and careful appearance. The only “but” that we may have with the user interface is that when selecting the operation mode, the entire set of values of all the settings change. For example, when selecting the Rec-709, which should be the one to use when editing video, it loads an 80 Nit brightness instead of the 100 Nit as recommended by the standard. The gamma curve, among other things, also changes, so it is always best to go over each and every parameter to be sure that everything is as it should be.


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The 3840x2160 resolution is that specified by DCI for its 4K format, and therefore, it is the most suitable for cinematographic projects.

TM Broadcast International

Broadcast and audiovisual digital magazine