Originally Posted by sodaboy581
It's not a myth
I have also heard about this stuff in the past from my Australian users, it seems like there are many down under who watch content from japan.... unlike North America, UK Europe, Australia models are usually directly manufactured in Japan / asia and brought in to. I just think most here including Professionals have no direct knowledge about the past standards in Japan.
I also saw at EIZO's website
that talks about this (EIZO is a Japanese Company, founded in 1968) but was getting lazy on posting additional links lol
As a rule of thumb, most Japanese film titles assume a 9300 K environment, while non-Japanese films assume a 6500 K environment. This means one is highly likely to achieve color reproduction close to that intended by filmmakers by setting the color temperature of an LCD monitor to 9300 K when viewing a Japanese film and 6500 K when viewing a non-Japanese film. (Naturally, this doesn't apply universally.) When using a model with a wide range of choices in Kelvin values—an Eizo Nanao LCD monitor, for example—users can adjust the color temperature to whatever looks best.
Here's also a LINK
to preview Page 643 from Poynton's book (though he's going from D65 to 9300K labels:
D65 (except in Japan, where the standard white reference is 9300 K).
All this has peaked my interest again, to see how this looks. I may look at sourcing some original and proper content from there and of course a proper source device and then some calibration sessions..Edited by turbe - 1/6/13 at 4:39pm