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Hello Ted.
That's very nice of you.

This has been my rule of thumb.
All 4000 nit titles use a black floor of .005. 1000 nit titles from Universal also use a .005 black floor as they were done with the Pulsar but mapped to 1000 nits instead.

Unlike projectors are LG OLED's map to content, so the floor should not be a issue.
Hi SS,

Sony BVM-X300 30inch 2160p OLED (1000/1100nits) they use for 1000/1100 nits mastering.

It's not sure what LG's are doing for the min black level info they get from each movie metadata.

So when you have a movie mastered with min 0.005 nits and you watch it with OLED which has 0 nits, it's up to the display internal programming what to do....

BT.2390 (which is not a published standard, it's a report) it has a minLum parameter to do a normalize counting to the display real black measurements but even if a display will follow that minLum parameter (which is baked inside to a display data)

You can test this to see if the mastering display min number of metadata is affecting your display response, if you have HD Fury Linker and send a custom metadata which will be the same as the movie's you will test but change the min from 0.005 to 0.000 or to 0.01.....when you have a paused dark scene of the movie, sending different values you will see what the display is doing ;) ...it will change the picture instantly if it's counting the mastering display nit to its internal baked calculations.
 

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Non the less I will now have to compare the pass through of the Lumagen with and without the Lumagen in the video path. I will be using Ghost In The Shell (1000 nit:)) and Blade Runner (4000 nit, also is a dark movie) to compare.

ss
Hi SS,

If you send custom metadata while you watch Blade Runner which will say 1000 nits mastering display used, then LG will do different tone mapping and not start so early it's roll-off, so it will not look dark as LG trying to resolve much higher nits details it can't display to it dims the levels it can display without problem, you need HD Fury Linker for this ;)
 

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Hello Ted.

Thanks for the correction, it is a 1000 nit format.
That helps me a lot, because it probably was my Lumagen Pro 4440 that was originally causing the dark issue with this film. Happy to say that it seems Lumagen has fixed that issue.

Non the less I will now have to compare the pass through of the Lumagen with and without the Lumagen in the video path. I will be using Ghost In The Shell (1000 nit:)) and Blade Runner (4000 nit, also is a dark movie) to compare.

I will also be using your HDR percentages that I calibrated my C7 with.;)

ss
So... Do I start to see a pattern here ? 1000 nits masters have less agressive Active HDR than 4000 nits ones ?
How about Netflix content ? Are they mostly 1000 or 4000 nits ? (The Defenders, or Glow for example)
 

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So... Do I start to see a pattern here ? 1000 nits masters have less agressive Active HDR than 4000 nits ones ?
How about Netflix content ? Are they mostly 1000 or 4000 nits ? (The Defenders, or Glow for example)
That's what I thought, but after Ted pointed out that Ghost In The Shell (made as a dark movie) is in fact a 1000 nit format but has a floor of 0.005 not a 4000 nit format, that theory is now invalid.

imho if you want to see a HDR 4K Blu Ray as it was intended, then you probably should set DC to low when viewing HDR video but turn DC off when calibrating.
As I pointed out, I can understand why if you use a reference color meter and run a 20 point to plot the grayscale when DC is set to low, you would think turning off DC is better. And maybe in some cases for HDR video it is better, but in the case of a dark movie like Ghost In The Shell it is better to use DC low.
For streaming try turning on and off DC low, see what looks best in your eyes. I haven't tried any streaming yet, because streaming is not reference video.

The best I have come up with, is to calibrate the high/low and or 20 point grayscale for HDR using LG's calibration notes. However because are 2017 LG OLED's are unstable for calibration purposes and because you are calibrating in HDR mode there is a small chance of burn in if you are using a slow meter, turn off ASBL in the service menu and leave the color patch on your screen to long.

The peak nits on my C7 after calibrating the grayscale is between 720 and 730 nits. That's pretty good.:)

ss
 

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Hi SS,

If you send custom metadata while you watch Blade Runner which will say 1000 nits mastering display used, then LG will do different tone mapping and not start so early it's roll-off, so it will not look dark as LG trying to resolve much higher nits details it can't display to it dims the levels it can display without problem, you need HD Fury Linker for this ;)
Hello Ted, my friend.

The Lumagen Pro is basically like the HD Fury, but on steroids.
Yes I tried to map using the Lumagen Pro and or Lightspace, but it only hurts the PQ.
The one thing that seems to work is using LG 2017 calibration notes and Calman, at least for now.
That said, I could keep trying to map using the Lumagen and probably will when I need something to do. For now I am happy with what I am seeing with calibrating the garyscale and turning on/off DC low, until I am convinced that DC low is the way to go.

As I said in my post above, turning on DC low does a good job with the HDR Blade Runner Blu Ray. It is very easy for me to compare the REC.709 Blade Runner version using a full blow 3DLUT calibration/Lumagen Pro to the HDR Blade Runner version, using of course no 3DLUT just a grayscale calibration. The two versions are about the same as far as brightness goes, the HDR version gives a sharper image, more detail and better shadow detail. The DA sound track is very good, if you want to test out your DA audio system try this HDR version.:)

ss
 

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Hello Ted, my friend.

The Lumagen Pro is basically like the HD Fury, but on steroids.
Yes I tried to map using the Lumagen Pro and or Lightspace, but it only hurts the PQ.
The one thing that seems to work is using LG 2017 calibration notes and Calman, at least for now.
That said, I could keep trying to map using the Lumagen and probably will when I need something to do. For now I am happy with what I am seeing with calibrating the garyscale and turning on/off DC low, until I am convinced that DC low is the way to go.
Hi SS,

A note for the users which will see your post, it's not a LightSpace issue the fact that it's not possible to calibrate for 3D LUT with HDR, it's a display problem (all HDR consumer displays problem) which don't have any switch to disable the internal tone/gamut mapping of the display.

For that reason you used CalMAN and manual calibration and not 3D LUT for HDR with LightSpace. ;)
 

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Hi SS,

A note for the users which will see your post, it's not a LightSpace issue the fact that it's not possible to calibrate for 3D LUT with HDR, it's a display problem (all HDR consumer displays problem) which don't have any switch to disable the internal tone/gamut mapping of the display.

For that reason you used CalMAN and manual calibration and not 3D LUT for HDR with LightSpace. ;)
Correct, at least for flat panels like the 2017 LG OLED.

It seems Calman and LG have been working together to come up with internal calibration tools, for both HDR and DV. Although I am not convinced that Calman's Levels editor is exact, but for now it is close enough to do a good job.
The only calibrator that I know that has done a DV calibration (jrref) seems to like the outcome of the DV calibration.

ss
 

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Correct, at least for flat panels like the 2017 LG OLED.

It seems Calman and LG have been working together to come up with internal calibration tools, for both HDR and DV. Although I am not convinced that Calman's Levels editor is exact, but for now it is close enough to do a good job.
The only calibrator that I know that has done a DV calibration (jrref) seems to like the outcome of the DV calibration.

ss
Hi SS, the LG don't know what they are doing exactly, the same problem had the numbers LG posted @ 2016 also. It's not a CalMAN issue that mismatch.
 

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Hi SS, the LG don't know what they are doing exactly, the same problem had the numbers LG posted @ 2016 also. It's not a CalMAN issue that mismatch.
Hello Ted.
I hope you are right. But for the many years I have used Calman, I never take anything Calman does in there new developments as not being without a chance of fault. ;)

ss
 
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Hello Ted.
I hope you are right. But for the many years I have used Calman, I never take anything Calman does in there new developments as not being without a chance of fault. ;)

ss
http://www.lg.com/us/support/products/documents/Calibration Notes for 2017 LG OLED TVs.pdf

Even the percentage numbers of LG 2017 document are not matching the digital levels of the Dolby's golden reference ST.2048 targets, so there is mismatch of 10bit values represent the percentages. It should be better idea from LG to just give the 8bit values, for being more accurate, since CalMAN editor is working with 8-bit values only. Converting 10bit to 8bit gives rounding errors.
 

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Any suggested settings for the HDR Movie Bright setting? I'm pretty happy with my Expert Dark Room setup from what others have posted (can't find a calibrator near Phoenix for my TV). But when I watch Netflix DolbyVision of course it switches to HDR mode. Or are those pretty much spot on?
 

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I installed the FW for technicolour presets last night on my c7 and calibrated it , I failed to see what technicolour actually did .
I was expecting I little more accurate colour but there was no real improvement over isf presets .
 

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Is there a specific way to set brightness & contrast on OLEDS or can I just use the AVS HD disc for SDR?

Hey Adam,

- Since OLED can do 0 Nits black, the goal is to get brightness as high as possible without making true black glow. Using a meter, and a standard brightness pattern, I was able to test how high I could go before 16 (True Black) started to produce light. For my set, I was able to go up to 53, however, this is likely to very slightly between sets.

- Since OLED has infinite contrast, contrast is more a matter of personal preference. The recommended ftL for direct display set is between 30ftL - 40 ftL. Using my meter and a 10% window, 100% White Pattern, I was able to determine a contrast setting of 85 provided a ftL output of 39.8ftL for my set. Again, this may change slighlty between sets, but I would recommend settling on 85 unless you have the means to measure ftL.
 

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Hoping to get some help with my colour calibration. My first kick of the can wasn't successful.

Can someone please confirm I have calculated my Y's correctly.

Also, is there somewhere in HCFR for me to indicate my 100% Y value? I was basing my changes of the deltaE value in HCFR and than realized I never actually set one. So not sure what value it was calculating too.

Also, would lightspace DPS free do a better job than HCFR?

My numbers,

Y - 137.564, measured using AVS 100% Gray window slide. (Round down checked off in HCFR Settings).

Y Calculation -
Red 21% = 28.888
Green 71% = 97.670
Blue 8% = 11.005

Thanks for any and all help.
 

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Hoping to get some help with my colour calibration. My first kick of the can wasn't successful.

Can someone please confirm I have calculated my Y's correctly.

Also, is there somewhere in HCFR for me to indicate my 100% Y value? I was basing my changes of the deltaE value in HCFR and than realized I never actually set one. So not sure what value it was calculating too.

Also, would lightspace DPS free do a better job than HCFR?

My numbers,

Y - 137.564, measured using AVS 100% Gray window slide. (Round down checked off in HCFR Settings).

Y Calculation -
Red 21% = 28.888
Green 71% = 97.670
Blue 8% = 11.005

Thanks for any and all help.
Hi, go to HCFR Grayscale and click to measure only the 100% White.

The meter will report to your the measurement patch chromaticity (xy coordinates) and luminance (Y). The slit of R,G,B Y it's something you have not to worry about since it's related with the colorspace (REC.709) and white point (D65) selection you have at HCFR preferences.

Each colorspace has different mixture of R+G+B Y to get you D65: http://www.avsforum.com/forum/139-d...ode-calibrate-white-balance.html#post54129785

LightSpace DPS or HCFR will report to you the same but with different layout.

You should enable the round down when you are using AVSHD with HCFR: http://www.avsforum.com/forum/139-d...ay-calibration-software-301.html#post53765713

this will affect the calculation of some grayscale steps (not the 100% which is the baseline): http://www.avsforum.com/forum/139-d...hat-best-calibration-disc-5.html#post51983009
 

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Hoping to get some help with my colour calibration. My first kick of the can wasn't successful.

Can someone please confirm I have calculated my Y's correctly.

Also, is there somewhere in HCFR for me to indicate my 100% Y value? I was basing my changes of the deltaE value in HCFR and than realized I never actually set one. So not sure what value it was calculating too.

Also, would lightspace DPS free do a better job than HCFR?

My numbers,

Y - 137.564, measured using AVS 100% Gray window slide. (Round down checked off in HCFR Settings).

Y Calculation -
Red 21% = 28.888
Green 71% = 97.670
Blue 8% = 11.005

Thanks for any and all help.
Hi, go to HCFR Grayscale and click to measure only the 100% White.

The meter will report to your the measurement patch chromaticity (xy coordinates) and luminance (Y). The slit of R,G,B Y it's something you have not to worry about since it's related with the colorspace (REC.709) and white point (D65) selection you have at HCFR preferences.

Each colorspace has different mixture of R+G+B Y to get you D65: http://www.avsforum.com/forum/139-d...ode-calibrate-white-balance.html#post54129785

LightSpace DPS or HCFR will report to you the same but with different layout.

You should enable the round down when you are using AVSHD with HCFR: http://www.avsforum.com/forum/139-d...ay-calibration-software-301.html#post53765713

this will affect the calculation of some grayscale steps (not the 100% which is the baseline): http://www.avsforum.com/forum/139-d...hat-best-calibration-disc-5.html#post51983009
Ok, to translate into simple steps. (These assume I have already let my TV and sensor warm-up, and my gray-scale calibration is complete. Also, I will be using GDC disk so round down not required)

1) Open HCFR and select 100% white value and take reading of 100% Gray window pattern on GDC disk. HCFR will now base my DeltaE target based on this reading.


2) Move over to primary and secondary section in HCFR. Select the proper 100% saturation window pattern for each color via GDC disk. Select realtime readings & adjust saturation, tint, luminance until delteE
 

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Hey Adam,

- Since OLED can do 0 Nits black, the goal is to get brightness as high as possible without making true black glow. Using a meter, and a standard brightness pattern, I was able to test how high I could go before 16 (True Black) started to produce light. For my set, I was able to go up to 53, however, this is likely to very
53 is interesting. Did you check for sparklies in black above 51? Dark room, eyes adjusted and close to the screen.
51 has been the max on all 7 series OLEDs that I have had the opportunity to play with.
 

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Hey Adam,

- Since OLED can do 0 Nits black, the goal is to get brightness as high as possible without making true black glow. Using a meter, and a standard brightness pattern, I was able to test how high I could go before 16 (True Black) started to produce light. For my set, I was able to go up to 53, however, this is likely to very
53 is interesting. Did you check for sparklies in black above 51? Dark room, eyes adjusted and close to the screen.
I have not seen any sparkles. However, I only jumped to 53 after a full white balance calibration.

Before calibration I did have sparkles when backlight was at 52 and 5% IRE luminance was increased to 15.
 

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I have not seen any sparkles. However, I only jumped to 53 after a full white balance calibration.

Before calibration I did have sparkles when backlight was at 52 and 5% IRE luminance was increased to 15.
That would make sense. Untouched 20 point would result in it being a tickle lower.
 
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