Quote:I think you (or someone) had asked me the same question back in mid-April when he was at my house doing my 65VT50 and produced 40ft/L from my "day" calibration (which is all I ever use because I like it bright, so I specifically didn't even ask him to do a "night").
I didn't know what the question meant, so I couldn't provide an answer back then.
But he was out again just this weekend (during the same trip to LA as mo949 had his done) and was over to finish up with a calibration on my Sony 34XBR960 that I'd also wanted but that he didn't get to last month. So I made it my business while he was here again to now ask him "what size windows" he'd used for my VT50 calibration yielding 40ft/L (and "by the way, what does that actually mean?").
He said it was about 11.5% approximately. He has his own personally configured profile in his laptop to control his signal generator, and that's the size window he uses. He has a rubber "shade ring" that he screws on to the front of the lens of the light meter/colorimeter he uses (sorry, don't know the brand/model) and leans it right up against the glass of the TV screen so that zero light from the room or anywhere else can get into the lens for measurement, other than what comes from the TV screen itself.
He used the identical software, window size, and approach on both my 65VT50 and also on my 34XBR960, so I assume he used the same configuration for mo949 as well.
And he does FANTASTIC work! I mean, it's like "reality" on the 65VT50. You don't have the feeling you're watching TV... it's like you're looking through a window onto the scene or into the live studio where real humans are sitting, everything is so clear and perfect and naturally colored.
Personally I love 40ft/L and its look on my VT50.