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Huge, high quality, standard gamut 4K display at a competitive price.
It's taken a while but BenQ are finally fleshing out their high end monitor line with the sorts of larger sizes most serious imaging users are looking for.
Note this model is 4K sRGB model - quite different to the 27" version. It's pitched more at the TV production and wedding/portrait photographic markets where standard gamut support is still the norm.
Given the highly competitive pricing, we're expecting these to be very popular.
BenQ PV3200PT video post-production monitor comes with 32" 4K UHD IPS technology and 100% Rec. 709 colour space for photo and video editing. It is Technicolor Colour Certified, ensuring you the most accurate colours to work with.
The High Resolution and Professionally Rendered Colours, So You Can See It All
Colour accuracy and clear line of view are of utmost importance for anyone working in the field of professional video post production. BenQ PV3200PT offers a wonderful range of 100% Rec. 709 with a resolution of 4K UHD to give you crisp and clear viewing quality.
4K UHD Monitor
Ultra HD has 4 times the resolution of conventional Full HD displays, and offers the clearest, most perceptible details in graphics, designs, and photos the eyes can see.
10-bit 100% Rec.709 and sRGB Optimal Color Precision
Enjoy over 1 billion accurately displayed colours in accordance with the highest design industry standards. PV3200PT covers 100% sRGB and Rec.709 colour space to ensure every colour is faithfully represented with the most optimal precision.
14-bit 3D LUT & Delta E≤2
The 14-bit 3D Look Up Table (LUT) improves RGB colour blending accuracy, resulting in impeccable colour reproduction. Having average Delta E≤2 in both sRGB & Rec. 709 colour spaces gives you the truest and most representative view of the original image.
Hardware calibration allows you to adjust the image processing chip in the monitor without changing the graphic card output data. It keeps images consistent with its original copies without being affected by graphic settings.
Individually Tested to Verify Performance
The PV3200PT display is subjected to an on-site verification process upon production to ensure the performance of the monitor in terms of brightness uniformity, Delta-E and Gamma curve. These results are then validated against BenQ and industry colour standards.(Below image is for your reference, the data in report will be different in monitors due to different colour performance.)
Brightness uniformity is achieved via delicate process involving the utilization of high precision apparatus to meticulously fine-tune hundreds of sub-regions on the entire screen. It offers a more authentic and consistent viewing experience.
An extensive range of monitor adjustments-height, tilt, pivot, stroke and swivel-tailor your work station to one that best suits your ergonomic needs.
Proprietary Palette Master Calibration Software
With the use of Palette Master and a compatible calibrator, you can tune and maintain the colour performance of the monitor at its most optimal state.
*Users need to buy calibrator separately
Support OS system :
Win7/ Win8/ Win10, Mac OS 10.6.8-10.11
Support Calibrator :
X-Rite i1 Display Pro / i1 Pro / i1 Pro 2
The OSD controller is a remote controller that comes with three preset buttons each set up with a customized display setting such as Rec. 709, EBU, or SMPTE-C. It can make users switch conveniently between different modes to save time and work more efficiently.
* Rec. 709: The standard of the format for HDTV. Colour space is identical to the sRGB.
EBU: Color standard for European broadcasting union.
SMPTE-C: Colour standard for broadcasting in North American TV broadcast.
The BenQ PV3200PT is Technicolor Colour certified, meeting strict colour standards for Hollywood, the broader media and entertainment industries.
Panel Size / Ratio
32" / 16:9 (1.78:1)
3840 * 2160 (UHD 4K)
Direct Hardware Calibration?
In Built Sensor?
This monitor supports Direct Hardware Calibration and comes with a full version of BenQ's Palette Master software to achieve this.
However a calibration sensor is not included and needs to be purchased to take advantage of this system.
The only compatible calibrators are the i1Display Pro, ColorMunki Photo/Design (N.B. not the ColorMunki Display), and i1Pro V1 and V2.
We recommend the i1Display Pro / Pro Plus.i1 Display Pro Plus
These calibrators are either simply not compatible, or do not measure current monitor technologies reliably. If you have one of these, it's time for an upgrade!i1 Display V1 & V2
Please note: Specifications are provided as a guide only.
We try very hard to keep these up to date and correct, but if a particular specification is really critical to you, then please double check the specification directly with the manufacturer. Some features may of course have caveats not fully described here.
To get more information about a particular specification, use the arrow to get a 'Specxplanation'.
Monitor panel sizes are measured across the diagonal, in inches.
They are approximate only, so the actual measurement might be 27.1" for example. Note that panel size in inches is only one part of the story - the other being the aspect ratio. For example a 24" monitors doesn't sound much bigger than a 23" monitor, but 24" monitors are normally 16:10 versus most 23" monitors being 16:9. This means a 24" monitor is much taller than a 23" and the working size is much greater than one inch difference would suggest.
The panel ratio gives the relative size of the horizontal to the vertical. Older monitors were 4:3, but most modern monitors are widescreen, with 16:10 or 16:9 being the common ratios. 16:10 is distinctly taller, and common with 24 and 30 inch monitors. 23 and 27 inch monitors are normally 16:9 - the same ratio as widescreen televisions. For monitors 24 inches and below, we recommend going with a 16:10 monitor if you can. Once you're over 24 inches you've got sufficient vertical working space it doesn't matter so much.
Native resolution is simply the number of pixels a monitor has, stated as horizontal x vertical.
LCD monitors really want to receive their native resolution and look pretty terrible when scaling other resolutions to the native resolution of the panel.
Most modern computers have no trouble outputting up to 2560 by 1600 (e.g. all Mac Pros/Macbooks/Minis/Airs etc. from the last 5 years or so can do this without issue, usually to 2 or more displays simultaneously). The only time it becomes particularly important is with older machines, particularly laptops, many have a maximum external display resolution of 1920 by 1200. If in doubt send us the full model number of your laptop and we can double check this for you!
There are three major types of monitor panels. IPS (aka PLS) - are the best for image makers. They have the best colour accuracy and uniformity characteristics. The can sometimes have weaker blacks, so gamers and video editors sometimes lean towards PVA monitors. However these days good IPS panels have excellent blacks so we recommend that all image makers use an IPS panel. The latest panel type, TN, is generally only used in laptops and low end devices and should avoided for imaging work at all costs!
The two major types of backlighting are CCFL (Flourescent tube based) and LED. CCFL is the older type of light source and offers good uniformity and it has been traditionally easier to engineer colour accuate monitors with flourescent tubes. However recent LED backlit monitors can be excellent - very uniform, and of course they use much less power. The latest LED backlit monitors from the good makers now offer excellent colour accuracy - at least as good as the older CCFL models.
LEDs also uses significantly less power (although CCFL monitors are already much better than old CRTs of course!) - and tend to have better uniformity.
Whether or not the unit needs a fan for cooling. Most monitors fortunately don't need a fan, rather using passive cooling through heatsinks and vents.
However, some monitors do require a fan, which can be of concern given the monitors proximity to your ears. Generally the fan will be a low dB fan not audible above a typical computer fan, but if ambient noise is of concern to you the we suggest you choose a monitor without a cooling fan.
Calibration is the process of calibrating directly into the monitor's hardware. This is both more accurate, and typically more easy to do, than traditional software calibration. See the 'Calibration Information' section above for more details about this monitor and calibration.
In built correction sensors come in two forms:
Until around 2010, almost all monitors were 'standard gamut' - meaning they could display a moderate range of colours (roughly around the size of the sRGB colour space). In recent years we've seen the development of wide gamut monitors that can display a much wider range of saturated colours (about 25% more) - equivalent to approximately the gamut of AdobeRGB.
We recommend wide gamut monitors for all image makers, but especially for anyone working regularly with saturated colour. Wide gamut monitors can also emulate standard gamut monitors very well, so it's more future proof to choose a wide gamut model, and there really aren't any disadvantages (apart from the generally higher price of wide gamut models!).
Does the monitor accept a 10 bit incoming video signal? 10 bit video signals allow for more tonal level separation (i.e. smoother gradients).
PC: 10 bit is well supported and relatively easy to achieve with 'workstation' graphic cards (short version: buy an nvidia Quadro video card!).
Mac: 10 bit has only just become supported in 2016 - you'll need very up to date Mac hardware, and the latest versions of OSX and your apps.
Our comprehensive article on 10 bit support has all the details.
The maximum achievable ratio of the brightness of a monitor's white to the depth of it's black. The stated figure is a maximum, achieved only when the monitor is running at high brightness in a darkened room.
A high contrast ratio makes things looks more contrasty (i.e. more 'pop') and is particularly of note with gaming, video, and image display scenarios. For example, if you're selling photos to clients straight off your screen, then high contrast has more wow factor.
However, for print work, it is typical practice to dramatically reduce the monitors contrast to as low as, say, 200:1 to better simulate paper. This is best done with monitors that feature direct hardware calibration support and allow you to specify the desired contrast ratio.
The maximum achievable brightness of the monitor in candellas per metre squared.
It is VERY unusual to run a monitor at maximum brightness, especially for imaging work.
The DCI (Digital Cinema Initiative) specifications requires contrast of 1500:1 or more.
Most LCD monitors do not yet offer DCI True Blacks support (in practice 'true blacks' means a very low black point suitable for video editing in a dim environment). This doesn't mean they have bad blacks in typical viewing environments, but it does mean you may experience some 'glow' in your blacks if you're viewing in a very dim environment.
Achieving very high contrast ratios is difficult and a combination of technologies is used - changes to the panel, light retardation film and backlight are all required.
This is really only of relevance in video work - in still image work, and particualrly for print, it is common practise to actually raise the monitor's black point above the minimum to better simulate the printed output.
The wider the better! But as usual, on paper specifications tell you just about nothing about the actual performance.
Viewing angle is the maximum angle at which a display can be viewed with 'acceptable visual performance'. In the context of this specification, all that means is that the 'contrast ratio remains above 10:1' (which is laughably low). This is really a meaningless specification with regards to the colour accuracy of a monitor when viewed off angle.
Thus, we don't place any credence in the manufacturer stated numbers. Simply though, IPS panels have the best viewing angles by far, and all IPS panels sold here all have (relative to low quality monitors) excellent viewing angles for this type of monitor, so you won't see significant variance as you move you head around under normal circumstances (movements of 15 or so degrees, say). In general you and a colleague could sit side by side (closely) and work acceptably together on an image. Beyond that, though, like all LCD monitors, accurate display will drop off very quickly once you move off angle. That is simply a fact of life with LCDs, even the best ones.
Ironically, monitors with lower black points tend to be slightly worse in this area (e.g. the CGX range from Eizo) - as often part of achieving the low blacks is the use of a polarising film over the panel. As anyone who has ever used a polarising filter with a camera knows, the effect of such a filter is highly directional. Thus as you move off axis, you will therefore see change more quickly.
The bit depth of the gamma Look Up Table. That is, the number of levels the gamma table can contain, which is crucial to the appropriate placement of tonal levels on screen. 8 bit is standard (although some appalling screens are only 6 bit!), but 10 bit or more is desirable, and the best monitors are now 14 or 16 bit.
The bit depth of the colour Look Up Tables. These are used to map incoming values from your computer to actual colours on the monitor's screen - so are of course crucial to colour accuracy. 8 bit is standard (although some appalling screens are only 6 bit!), but 10 bit or more is desirable, and the best monitors are now 14 or 16 bit. Ideally combined with 3D LUTs that can transform colours in more than one table at once.
Put simply the higher the bit depth of the LUT, the greater the capacity for accuracy.
3D Look Up Tables allow colour transformations to occur on R,G and B simultaneously, which increases speed and accuracy. Basically, a 3D LUT means better, more accurate calibrations. You want one even if it sounds like gibberish!
LCD Monitors coming off a production line typically exhibit some uniformity issues. Uniformity corrected monitors are broken into zones, measured, and each zone calibrated to be even with its neighbours (and you often get a written report of this process with very high end monitors like the Eizo CG series). Called DUE by Eizo, and most likely something else by others, it's an important part of the process of high end LCD making.
The process occurs at the begining of the monitor's life and there is currently no user system for correcting uniformity after the monitor is out in the field, although it is theoretically possible. Fortunately, moden monitors that leave the factory in a very uniform state tend to then remain uniform for many years of use.
Monitors that are not uniformity corrected may exhibit some visible artefacts like a change in density or colour across the field of the monitor. Wtih brands like Eizo and NEC, the non uniformity tends to be minor.
How quickly a pixel can change colour, in milliseconds (usually measured as grey-to-grey, but there's no real standard).
Basically, any value 16 or under is generally fine for all normal uses. Exceptions are high end gaming and possibly video production - but it's rare anything below 10 makes a significant difference, and monitors with very low response times typically sacrifice a lot of colour quality to achieve this.
Can the monitor play back a 24p video signal (i.e. 24 frames a second) - without visible motion artefacts?
Typical desktop monitors either refuse a 24p signal altogether, or force all inputs to 60hz, remapping different frame rates like 24p to 60 frames per second (usually using a technique known as 3:2 pull-down). Unfortunately, because 60 is not evenly divisible by 24, this causes significant visible motion artefacts.
A monitor with 24p support is able to play back 24p sources at either the native 24 frames a second, or using simple frame doubling/tripling to play back these sources as 48 or 72Hz. This results in smooth motion without new artefacts (n.b. - artefacts inherent to 24p, like some juddering during slow pans, remains of course, as this is inherent in the low frame rate of the original filming - but it's this low frame rate that gives the 'film like' look.
More about 24p on Wikipedia.
The input ports a monitor has. We have a comprehensive article about these (with pictures!) - here.
Other connections the monitor offers - such as audio connectors if the monitor has speakers (most don't) - and USB hubs. Some USB hubs also act as 'KVMs' - meaning you can plug your mouse and keyboard into the monitor, then the monitor into two separate computers and easily share your peripherals and screen between the two machines.
How much power the monitor draws. Often stated only as peak power usage, the real figure in practise may be lower.
Lower is better, both for your electricity bill and the planet, but typical figures of around 100W means that your monitor uses about the same as two standard downlights, so modern monitors are really very efficient compared to the hundreds of watts those old CRT clunkers used!
If a monitor hood is not included, then there are [LINK] aftermarket hoods available.
Monitor hoods stop direct light falling on the monitor which can make, in particular, shadow details harder to perceive. While not essential, once you get used to having one it's hard to go back to a screen without one - they improve the picture generally and provide a real 'window in to your image' effect.
Most colour accurate monitors don't have in built speakers.
Those that do offer speakers usually connect via 3.5mm jack (see connections), and the speaker output is usually around the 1-2w range. Fine for basic system sounds but not great for music etc.
Can the monitor be rotated on its stand 90 degrees and used in portrait orientation? Particularly useful if you're doing portrait work on smaller screens!
If the monitor & stand support this then you just rotate the screen physically and instruct your video card to flip the image 90 degrees (if you bind this to an F key on your keyboard it can be a very simple process!).
We keep these details up to date to the best of our knowledge.
However if a particular item is of special importance to you please also check the manufacturer's listing for the product.
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We answer all enquiries, and promptly too!
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Note this form is for pre-purchase enquiries, or support enquiries if you have bought this product from us. If you have bought this product from another supplier then please contact that supplier for support.
Selected by Image Science, tested as compatible.
Hand curated articles, links and downloads to help you get the best from your BenQ PV3200PT 31.5" 4K Monitor.
Need technical support? Use the form to above send us an enquiry or if it's urgent, call us on 03 9329 4522.
At Image Science we support what we sell & we really mean that.
You're welcome to call on us for help - how to, technical support, troubleshooting, general tips - for the entire lifetime of the product.
With an unmatched track record for support, for more than 15 years in this industry, you can be sure we're not just a box moving store.
As BenQ's key partner in the colour accurate market, we have an exclusive warranty arrangement with BenQ Australia.
New BenQ monitors bought from Image Science come with a BenQ three year full parts & labour warranty, and an extra extremely generous dead pixel warranty of 6 months. In addition, we have direct, personal access to the BenQ product development engineers in Taiwan and can draw directly on this for technical support questions.
(NB - Ex-demo / refurbished monitors may come with a different warranty as noted on the ex-demo page).
See BenQ Warranty Page for full terms and conditions of the general BenQ warranty but note that with us, exclusively, you get much better dead pixel coverage and highly knowledgeable technical support.