LG 2018 OLEDs & Talking Calibration With Tyler Pruitt

Wait, why does technicolor have their cinema projectors set to d65 and not dci white point? I mean for what kind of work? I can imagine when they need to do the Blu-Ray or streaming passes?

The origin of Perceptual Matching can be read here: https://www.lightillusion.com/perceptual_colour_match.html

And here: https://www.google.co.uk/url

Very interesting ep. Thanks.
Would like some feedback on greater then 1000nit mastering.
Everything but Dolby proprietary monitors are 900-1000nits. I am wondering if its worth going to any more as. The power envelope is typically keeping us in this area. How much better does an image look at 2000 over 900/1000 nits.
And is 1000nits in th “good enough” area that it may never happen. Ie like 8K is for distribution?

Hi James – A few things:

1. Not sure what you mean by ‘everything is 900-1000nits? That’s just not true, especially on the professional front with this year many monitors like the FSI XM310k, TV Logic LUM 310R capable of 2000nits + plus. A few Consumer LCDs can push 1000nits. The real question on both pro and consumer monitors is how much of over all screen real estate can do that much

2. Having had the opportunity to view and grade on a 4000 it Pulsar I would say that a 2000 nit or 4000 nit (pulsar) monitor is so over the top impressive compared to a 1000 nit display it can be easily summed up. But remember PQ and HDR general is not just about peak white its about dynamic range – the larger that pipe, I’d argue the more impressive and the more possibilities of a grade

3. 1000 nits is indeed ‘good enough’. Its the min. standard for Dolby Vision and many HDR 10 distribution specs. I’d take 1000 nits as the baseline for true HDR. As I mentioned this year 2000, 3000 nit options will become available – Sony, Dolby and others will push the high-end that will trickle down.

Thanks Jose –

I didn’t process Tyler saying that while we were recording, but its a good question! I’ve asked him to chime in here in the next day or so.

Correct me if I am wrong, but the XM310k is still not available. Not sure about the 310R, but I imagine as both based on IPS display technology, for whatever rason they have been held up. Its probably not trivial. And god known, these monitors are super expensive.

If the average luminance level is still around 100 nits, the extra nits over 1000 really only give you specular highlights. (Only a very small % of pixels would ever go over 1000 nits) And yes, thats nice but so is 8K, but you don’t see production people rushing to do 8k. You don’t see domestic tv makers rushing to make 8K

I’m just saying, I think we may be over reaching with greater than 1000 nit domestic displays. And if we don;t expect consumers to ever purchase 8K displays (As the 4K was barely noticeable, 8K simply is not.) One could say a similar perception and market movement into predominantly into 1000nits only, and improving that over time, before we get to a more then 1000nit domestic future.

As such, why over commit to HDR is a 1000nit monitor will do the job for the next 10 years?

That’s the gut feeling I am getting more and more with HDR.

And as this podcast pointed out, with these latest LG monitors, with the right equipment, these domestic LD monitors can give a similar result to grading monitors. (And appear a lot of the industry is doing just that with those monitors) For example, new FSI 65inch monitor is $12000. More than the native LG monitors, but they do have more features that make them more suitable. But you can definitely get away with a $6000 LG and the right kit by the sound of this podcast.

SO, if your doing a lot of mastering in that specular highlights are not common in the deliverable, such as a reality TV, shot inside type deal. 1000 nits is likely all you need.

Would you say this conclusion has merit.

Jose,

I will clarify this question with them.

I have confirmed that they set the Xenon DCI projector to D65 just for the perceptual matching process. They used the Xenon PJ because of it broadband spectral properties.

Thank for following up on that Tryler. Intrestingly I just found out that some big post houses here in Munich also matched their projectors to D65. But most theatres still have their white point set to P3 right? So they just specifiy for the dcp creation (in clipster for example) that the white point was d65 and not p3?

I ‘think’ the point of using the Xeon light source is to provide a perceptual match to the video monitors because as tyler said it’s such a wide spectral source.

55″/65″ 2000 nit reference monitor… YES PLEASE

Currently running 3x CM250 and 3x LG B7 and perceptual matching is the bane of my life, especially when all 3 senior colourists at Cheat see the difference differently 😂🙄😩😩

Did this audio tutorial disappear?

Hey Aaron. Yes. Sorry about that and thanks for the heads up. We recently switched to a new way of streaming podcasts and this one got missed. Will have it fixed ASAP

It’s back!

Question about using LG OLED with Resolve and HDR:
I have a 12G Decklink running HDMI out to LG C8 OLED. Setting the LG’s “color gamut” option to “auto” — which is the correct option to use when I’ve connected the LG to an HDR BluRay Player — appears to be quite washed out with the signal from the Decklink. It seems that I have to set it the LG’s color gamut option to “wide” to get it right. Can anyone confirm whether or not “wide” is the correct setting when sending a 1000nit PQ signal to the LG via HDMI from BMD 12G Decklink?