SKU: 19942420103

ASUS ProArt PA348CGV 34" 21:9 Ultra-Wide QHD Monitor

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Description

ASUS ProArt PA348CGV 34" 21:9 Ultra-Wide QHD MonitorIncomparable Color. Unlimited Creativity. The ASUS ProArt Display PA348CGV is a 34 inch ultra wide monitor meticulously engineered for creative professionals. Whether you're into photo and video editing or graphic design, this monitor is designed to bring your creative vision to life with stunning color accuracy and an expansive workspace. It comes factory calibrated and Calman Verified to achieve a Delta E < 2 color difference, ensuring the colors

Incomparable Color. Unlimited Creativity.

The ASUS ProArt Display PA348CGV is a 34-inch ultra-wide monitor meticulously engineered for creative professionals. Whether you're into photo and video editing or graphic design, this monitor is designed to bring your creative vision to life with stunning color accuracy and an expansive workspace. It comes factory-calibrated and Calman Verified to achieve a Delta E < 2 color difference, ensuring the colors you see on screen are true to life. The PA348CGV covers an industry-standard 98% of the DCI-P3 and 100% of sRGB/Rec. 709 color gamuts for rich, vivid reproduction.

Expansive and Immersive Visuals

Experience enhanced productivity with the ultra-wide 21:9 QHD (3440 x 1440) IPS panel, which provides 35% more onscreen space than a similarly sized Full HD monitor. This extra real estate makes multitasking more efficient and enjoyable. The display is also VESA DisplayHDR 400 certified and compatible with the HDR-10 format, delivering brighter whites and darker blacks for a rich and lifelike viewing experience.

Fluid Motion for Smooth Rendering

With a 120Hz variable refresh rate (VRR) and FreeSync Premium Pro, the PA348CGV offers a fluid, tear-free viewing experience. This high refresh rate is a boon for creators working on fast-rendering games or 2D/3D animation, allowing for smooth visuals and comfortable quality checks on a single display.

The Ultimate All-in-One Hub

Simplify your workspace with extensive connectivity options. The integrated USB-C port is a powerhouse, supporting data transfers, DisplayPort Alt Mode, and up to 90W of power delivery to charge your devices through a single cable. In addition, it features DisplayPort, two HDMI ports, and a built-in USB hub, making it compatible with a wide array of multimedia devices.

Designed for Comfort and a Clutter-Free Desk

The ergonomic stand offers tilt, swivel, and height adjustments, allowing you to find your perfect viewing position for long creative sessions. The monitor also includes a convenient C-clamp mounting bracket to help you free up valuable desk space.


Display
Panel Size 34-inch Ultra-wide
Aspect Ratio 21:9
Panel Type IPS
Resolution 3440 x 1440 (UWQHD)
Pixel Pitch 0.2325mm
Brightness (Typical) 350 cd/m²
Brightness (HDR, Peak) 400 cd/m²
Contrast Ratio (Static) 1000:1
Viewing Angle (H/V) 178° / 178°
Response Time 2ms (GTG)
Refresh Rate 120Hz
HDR Support HDR10, VESA DisplayHDR 400
Color Space 98% DCI-P3, 100% sRGB / Rec. 709
Color Accuracy ΔE < 2, Calman Verified
Connectivity
USB-C 1 x USB-C (DP Alt Mode, 90W Power Delivery)
DisplayPort 1 x DisplayPort 1.4
HDMI 2 x HDMI (v2.0)
USB Hub 4 x USB 3.2 Gen 1 Type-A
Audio 3.5mm Earphone Jack, 2W x 2 Speakers
Mechanical Design
Tilt +23° ~ -5°
Swivel +30° ~ -30°
Height Adjustment 0~115mm
VESA Wall Mounting 100x100mm
Dimensions & Weight
Dimensions with Stand (W x H x D) 817.6 x (453.9~568.9) x 245 mm
Dimensions without Stand (W x H x D) 817.6 x 368.2 x 68.9 mm
Net Weight with Stand 12.2 kg
Net Weight without Stand 7.8 kg
Shipping Notes
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Exchange/Return Notes
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SKU: 19942420103

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4.6 ★★★★★
Based on 11 reviews
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Product Reviews
J
Verified Purchase
jk Smiles
New York, US
★★★★★ 5
A book on dialogue should be experienced first as a book on tape
Format: Audio CD
I think of this more as a great master class lecture. Dialogue should be seemingly simple (we all talk), but McKee defines its essence and differences for prose, stage and cinema. The bulk is narrated by McKee, but the scene examples are read by voice actors and they do quite well. Even the roots of the English language are examined in order to make better decisions on your character's particular use of words. After listening the 10 hours twice while commuting, I finally picked up the book and read it. The book on tape is a better way to initially absorb the material, while the actual book helps to clarify the info. A must for all writers, especially screenwriters.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on August 30, 2018
L
Verified Purchase
Lori T. Sly
Grantham, US
★★★★★ 4
Helpful, but not as good as "Story" by same author, and it disses certain genres
Format: Hardcover
This book contains a lot of helpful information on how to write dialogue. It's dense with dialogue analysis and insights, tough to take in by just reading it through once. But it is helpful. McKee covers the three dialogue tiers (said, unsaid, unsayable) as well as how dialogue ties into story turning points and scene conflict type. I still have lots of practice ahead of me to figure out how best to do this in my story. I will definitely use his advice as a guide. He understands dialogue at a much deeper level than I do. However, many of McKee's dialogue examples did not speak to me. While I liked reading the dialogue examples for Breaking Bad, 30 Rock, The Sopranos, Frasier, A Raisin in the Sun, and The Great Gatsby, and agreed they were good, I disliked the dialogue from Shakespeare, Elmore Leonard, Sideways, Fraulein Else, and Lost in Translation. McKee says fine dialogue turns the reader/audience into a mind reader; I guess I'm not interested in movies which expect me to be as much of a mind reader as those latter examples did. I totally missed the subtext of the dialogue in those until he explained it to me as an aside. And that's after I already saw most of those movies! If I have to guess what every character means with every line, that's too much work and too little entertainment for me. Maybe mystery lovers liked the dialogue in "Lost in Translation"; I'm not a mystery lover. McKee quoted one novelist as saying that the crux of good writing is to, "Make em laugh, make em cry, make em wait." Lost In Translation and its dialogue did none of that for me. The subtext was so confusing and subtle that I lost interest in the movie. I can't even remember what it was about anymore, only that it won some award and I had no clue why. McKee says that with rare exceptions, a scene should never be outwardly and entirely about what it seems to be about. Dialogue should imply, not explain, its subtext. An ever-present subtext is the guiding principle of realism. Nonrealism, on the other hand, employs on-the-nose dialogue in all its genres and subgenres: myth and fairytale, science fiction and time travel, animation, the musical, the supernatural, Theatre of the Absurd, action/adventure, farce, horror, allegory, magical realism, postmodernism, dieselpunk retrofuturism, and the like. It's a bit unclear how, if at all, anyone writing in any of these "nonreal" genres should take his dialogue advice. It seems to me that even sci fi scenes need some good dialogue with subtext to be engaging. With McKee, all the accolades go to what is implied and unsaid over what is said. I agree that subtext matters, but for me, he's out of proportion with how much it matters to most people and how hard audiences are willing to work to discover the intended subtext. Also, memorable spoken character lines can elevate movie themes and characterization like nothing else. In the end, I think this book is geared more toward writers who want other advanced writers as their audience rather than the average reader or movie watcher. And McKee admits it is definitely not geared toward sci fi, fairytales/myths, action/adventure, horror or allegory. It's almost as if he's saying those genres can't have excellent dialogue. I disagree. But it was still a helpful book to read, and one I will be thinking about and trying to more fully understand for a long time. McKee understands how character's subconscious drives can deepen what they say or avoid saying, and how dialogue interacts with many other aspects of a story to make it all work together.
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Reviewed in the United States on December 12, 2019
R
Verified Purchase
Ray Pryor
Dallas, US
★★★★★ 5
Amazing.
Format: Kindle
Just like a good movie, the first 10 pages = mind blown. Wow, such really, really good material here. If you're new, this will help you a ton. If you're experienced, this book will help you realize WHY great dialogue is so great, enabling you to create the magic again and again. I love how McKee covers several medias ( screen, theater, novel ) but still stays true and clear on the concept. A virtual masterclass on the subject. One of the best screenwriting books out there, and Yes, it's well worth all the hype.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on April 18, 2017
K
Verified Purchase
Kindle Customer
Birmingham, US
★★★★★ 5
So to speak
Format: Kindle
Previews did not show the Table of Contents, but it is worth searching the web for. The coverage includes practical techniques as well as case studies. Notes cover titles on topics over several decades. This book has four parts about what dialogue is, how it can mended, and how it can be created and designed. Trialogue, the third thing through which a pair of characters channel conflict in conversation, is an interesting concept because it overlaps social networks or media and comms devices; it is also looked at historically. Dialogue is reportedly the quickest way to fix a narrative text since it appeals to intuition. Those levels of depth are what the book is about. They can be found in first person voice. The approach could easily fill a site on the order of tropes for favorite titles, but for deconstruction and revision, which are also relevant to works in progress. It talks about finding characters in the dark, though not necessarily from the milieu, unless it were compressed and made to transfer meaning like in poetry, but reflexive so that it is symmetrical to the characters or human nature. If there is a boundary to be found, then this method is going to hit the lines to find out what happens then. The impact on the rest of the narrative elements is discussed. This extends back through the early philosophers, through tragedy, the merging of European roots into English, and the study of personalities to contemporary customs. Voice is plot.
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Reviewed in the United States on June 12, 2017
C
Verified Purchase
cf otto
Omaha, US
★★★★★ 5
ONE OF THE TWO BEST BOOKS ON SCREENWRITING
Format: Hardcover
Probably the best book on screenwriting ever (besides Egri), though there is also much here for the novelist and playwright. I am a professional TV writer, of long-standing (35 years), and I can tell you I used this book to figure out how to fix the problems of a complex pilot I'm writing; the author truly " guided me home." And lest you think I'm a McKee sycophant, I am not. I found little in STORY for me. The only thing I disagree with in DIALOGUE is that the author sells his own work short: it isn't just for those who are "lost" in their writing, like me, and the student, it's for anyone who writes fiction for a living, in any form, no matter how much experience they have. It's that good.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 14, 2016

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