Originally Posted by turboman123
The way we did it is for a constant peak white, to max Contrast and White Balance Gain and to reduce backlight setting. This minimizes black level and maximizes ANSI contrast for a given peak white. For a given peak white, it also makes flashlighting and clouding less apparent.
Oh, I get it. Sure, that'll work. Light output will drop too much before you ever get to the point where near black is crushed by reducing the backlight.
Also, you might take a look at lower peak luminance as a target for night (reference) viewing in a dark room. Here's the history. THX raised the recommended Night mode peak from 30 to 35 FtL a few years back for no other reason than people were complaining about the dark picture. Contrarily, studios and post houses do their mastering at 100 and down to as low as 80 Nits (29- 23 FtL), so isn't this the level the director wants the pictured viewed? Actually, yes, it is, BUT, we are used to watching bright, poppy daytime content and when you put on one of today's darker movies your brain keeps looking for all that pop and it isn't there. You have to take a walk outside at night and access the fact that there really isn't a lot of viewing contrast reaching your brain because that's just the way we perceive things in the absence of brighter light. Then you have to ask yourself if you'd get any pleasure watching a movie that looked like "real life". It's up to you, of course, and I'd be the last to say whether it is right or wrong.
In any case, screen size matters. A 41" screen usually needs a bit of a boost, say 35 FtL for night viewing. A 60" screen looks great at 30-35. I watched a 75" LaserVue DLP for three years at 23 FtL peak and never had a complaint. Front projectors should be reflecting 14-16 FtL and Movie theater screens are way lower than that. Yet, they're all watchable. We can argue light source, screen type, reflectivity etc. all day long but, in my opinion, when the dust clears, the larger the screen, the less light required. THX and ISF probably don't want to touch the subject because it brings new complications to calibration and I don't blame them a bit. I find it best to find that particular max luminance level that is comfortable and pleasurable for a given screen and environment, and work on contrast from there.
The simple answer, of course, is to buy an Elite, F8500, VT60, etc. in the first place and then the rest is easy....