How to calibrate the 2018 LG OLEDs - Talking with Tyler Pruitt

LG 2018 OLEDs & Talking Calibration With Tyler Pruitt

April 26, 2018

In this special edition Mixing Light Podcast, Technical Evangelist Tyler Pruitt joins Robbie to discuss LG's 2018 OLED monitors and various calibration issues like metamerism, colorimeter matrices and more!


Series

When An Expert Stops By, You Let Him In The Door!

Have you ever had that feeling of being out of your league on a particular subject?  When it comes to calibration, and new displays I feel pretty learned, but whenever I talk to Mixing Light friend and Spectracal/Portrait Display’s technical evangelist Tyler Pruitt, I realize how little I really know!

Tyler is one of the smartest guys I know. He is always gracious with his time and knowledge and knows (almost) everything there is to know about calibration and display technology.

At NAB this year, Tyler let me know that he was going to be in the DC area this week for some family stuff.  I instantly asked him – ‘want to come by the shop?  Can I ask you 47,098 calibration questions?’

He graciously (read miraculously) agreed!

In the podcast below, Tyler and I discuss what a lot of you have been asking about – 2018 LG OLEDs with 1D and 3D LUT support, which is huge!  Are these displays reference monitor replacements? Maybe…

Not wanting let Tyler out the door without asking him some more questions, we discuss client monitors in the general sense and discuss a few different common calibration issues.

Clocking in at about 30min, this is a great listen on your next lunch break!

As always, questions or more to add to the conversation, please use the comments below.

-Robbie


Comments

Homepage Forums LG 2018 OLEDs & Talking Calibration With Tyler Pruitt

Viewing 16 reply threads

    • Robbie Carman
      Participant

      This is the discussion thread for the Insight: LG 2018 OLEDs & Talking Calibration With Tyler Pruitt


    • Jose S
      Member

      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?


    • James Gardiner
      Guest

      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?


    • Robbie Carman
      Guest

      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.


    • Robbie Carman
      Guest

      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.


    • James Gardiner
      Guest

      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.


    • Tyler Pruitt
      Guest

      Jose,

      I will clarify this question with them.


    • Tyler P
      Member

      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.


    • Jose S
      Member

      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?


    • Robbie Carman
      Guest

      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.


    • Tobias T
      Participant

      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 😂🙄😩😩


    • Aaron H
      Guest

      Did this audio tutorial disappear?


    • Robbie Carman
      Guest

      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


    • Pat Inhofer
      Guest

      It’s back!


    • James L
      Guest

      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?


    • Robbie Carman
      Guest

      James – sorry I totally missed this!

      Auto is the right choice. The only time you’d want to go to WIDE is to put the panel into its widest gamut and you’re going to use a calibration LUT to a smaller gamut like P3 or 709.

      What you describe sounds like to me a levels mis-match. On the LG go to Picture > Picture Mode Settings > Picture Options > Black Level.

      It’s a bit of weird terminology….but

      High = Full Range
      Low = Legal or Limited Range

      You want to this to match what your levels setting is in Resolve Project Settings > Master Settings > Video Monitoring.

      A few more things to consider. You seem to be using Resolve to send HDMI metadata to tell the TV to go into HDR mode but there are some color management settings worth mentioning.

      Using Resolve Color Management you’ll want to make sure that you’re outputting Rec 2020/ST2084 at 800 nits (the closest thing to the performance of newer LG OLEDS. Because no TV does 100% of Rec 2020 you can also use the Limit Gamut To pulldown to P3D65 to take advantage of that full gamut on the TV>.

      You’ll also want to check the HDR mastering is for X nits. And set that to match the performance of the TV>.

      Hope this helps.

Viewing 16 reply threads
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