BenQ SW270C monitor review

Colour consistency between multiple SW270C monitors has been assured, and the uniformity of each monitor is exceptional. I am delighted with the results of the new SW270C as far as uniformity goes. If anything, that was one of the only details separating BenQ (now called AQcolor) from the most expensive monitors. This is a factory measured value field reported delivered with each unit from BenQ. It is easy to check for uniformity. Take a window with a white background and slide this window around to all zones. You’d be surprised at how our eyes become used to differences in across the screen densities. The BenQ Sw270C is very good in both density and colour across the screen in real world visual tests and the factory measured report of each monitor.

The inclusion of M-book colour space which is Apple’s P3 lets you plug in a single cable USB C and match the bright contrasty look of the MacBook iPad etc on the (mat screen) BenQ SW270C. That is very nice indeed. Yet you can still choose to switch to a calibrated space saved into Cal 1,2, or 3.

Calibrations and profiles between all BenQ SW monitors is a joy. They are in all practical ways identical. Switching between monitors updating and upgrading gives you that bonus confidence in BenQ that your past present and future workflow is assured.

For some, only doing stills photography this makes investing in a capable monitor a wise long-term choice, as camera and editing applications including video support aligned with these colour spaces in mind.

Of course, any high-end monitor has more features than any one user will ever use. That is where I would like to point out the most usable and important features for the photography and video editing domain.

Cameras have been producing images with more colour than monitors can show for a long time. Monitors now are targeting Adobe RGB colour spaces as the reference point, with the goal of managing extraneous colour spaces such as DCI P3 well managed.

Apple decided on a wide gamut device space called Display P3. This is similar to Adobe RGB yet with different coordinates. Both are fine for editing. The advantage with the SW line is being able to move between all colour spaces with ease and assurance.

Physical dimensions are what many users are expecting and comfortable with. The BenQ SW270C monitor is well paired for a standard desktop space and viewing distance. I run mine with a dual monitor setup 27” iMac 5K.

A laptop and a BenQ SW270C will make for an ideal editing setup. The BenQ SW270C is heavier than the SW2700 yet light enough to use as a studio reference monitor. With a good laptop one is all set for all sorts of studio situations. With the addition portrait mode all bases are covered.

The dilemma of choosing a 4K or HD monitor is still there. For example if you like to be close to the monitor(s) a standard HD monitor as the SW270C is would be your choice. All 4K monitors have you further away for a reasonable viewing distance. I am finding the text on the SW270C very sharp, only being a touch crisper on my iMac 27” 5K. It also comes down to how the OS manages text on above HD. Apple does this well on their Retina monitors. For any monitor plugged in that is managed by the system Mac or Windows text rendering is somewhere between acceptable and good. To my eyes great has not yet happened in text scaling at the operating level for external monitors.

For editing images, I find the operating systems run smoother with HD monitors regardless of video card. Hence my recommendation for stills or non 4K video you’ll be happier with this monitor over a 4K such as the excellent BenQ SW271. For those who want to see the very finest details in stills the 4K version is for you.

While most editing computers since 2012 are capable of delivering 4K video output signal not all can drive this at 10 bits per channel (over HDMI 2.0 or Display Port).

Mac is simple to send out 10 bit per channel data from the video card. You can look under the Apple icon top left, About This Mac>System report…> Graphics/Displays and check your 

Frame Buffer Depth. If it is 30 bits you are in 10bit data. 

Windows is more complicated. You’ll need 10 bits in Open GL, as Adobe apps require it. Thus video cards like the Quadro and Geforce. Other cards may or not have 10 bit in OpenGL.

With the addition of USB C much more data can be sent. One of the biggest advantages of the SW270C is the supplied high-quality cable functions for all data including the USB hub, card reader, 10 bit workflow and sound etc. Time required for calibration is reduced by 3 thanks to USB C. I am not sure why but the specifications page notes the USB C cable as optional, and in the manual, it states cables are supplied according to localisation. In Europe this cable is supplied.

Implementation by Apple with Thunderbolt 3/ USB C is unfortunately problematic. There are some delays on wake up, some applications are not as fluid as with an HDMI or DP connection. One thing to note: Turn on USB-C Awake to On as it is by default set to Off.

As good as an iMac is, the BenQ SW270C has a superb mat screen, and although the Apple specs are similar the viewing angles specifications it is readily apparent that the BenQ really outperforms any glossy screen at extreme angles. Uniformity is superb on the SW270C, beyond my expectations, and truly a top-level panel.

When clients are present, the undeniable repeatability and viewing angle comfort of the BenQ SW270C will prove its worth. With the improved uniformity there are no coloration zones.

As photographers, we are drawn to video more and more. Not long ago video editing was a specialised domain reserved for mid-sized companies with experts in editing with very expensive equipment required to do so.

Now, the requirements have become in reach of independent artists and content creators making high quality video editing a reality with a smaller investment in equipment as well as training. Yet delivery of content needs a reliable editing post where the monitor is the portal into the visual world we are working with.

BenQ addresses the needs by aligning colour display to your workflow needs both video and stills.

While editing video simply set your BenQ SW270C space to the same as your editing application and have an assurance of predicable and accurate colour. Typically, this will be Rec709. This is not to say a display will replace a reference monitor (in terms of video reference monitors certified for various broadcast standards). It will however assure colour coordination and workflow in editing will be maintained.

BenQ SW270C is CalMan Certified and Pantone, which are outsourced colour certification programs that measures the ability to meet or exceed a standard set of controls such as white point, gamut, contrast and brightness colour space accuracy. Basically, it means the BenQ SW270C will easily maintain great fidelity between watching movies, targeting press output, or any other applications you use. 

Pantone Certification is a plus on BenQ’s side. It doesn’t change the colours you have on the monitor yet has a validation of the Pantone Swatch colours being able to accurately render their colours for designers, graphic designers. Making a polyvalent monitor for such a low price puts BenQ ahead of others.

Often reviews lists specifications without describing what that could mean for the user. I will try to explain some here.