I definitely keep my eye on the waveform to avoid clipping the black areas, but no waveform monitor can tell me if my contrast ratio is satisfying, or if the image is beautiful to me. Only the third screen can give me that information.
Sigh. There are times when I wish I had chosen a form of creative expression less dependent on successful reproduction of the work.
Shirley
-----Original Message-----
From: Steve Hullfish <steve4lists@veralith.com>
To: Avid-L2 <Avid-L2@yahoogroups.com>
Sent: Wed, May 16, 2012 8:10 am
Subject: Re: [Avid-L2] Was Sony OLED now Color Correction question...
I would think that the answer here is that the black level itself should be set
the same way with either an LCD or an OLED, and that is WITH A WAVEFORM MONITOR.
So your blacks are identical in the SIGNAL on either monitor, however the OLED
allows you to see better in the blacks for issues like noise and detail and
compression artifacts and even unwanted detail.
Setting your levels with a waveform monitor, you might also be less likely on an
OLED to crush your blacks to get a nice rich looking black, because you'd
already be seeing it that way. With a poorer quality LCD, you may have the
tendency to crush stuff that you shouldn't. If you're looking at the SCOPES
anyway for your true blacks, then hopefully you don't fall into this trap.
Remember that your video monitor is a REFERENCE. It WILL NOT LOOK like what goes
out to broadcast and what people see in their homes, bars and at BEST BUY. The
goal with monitors is to get as true a color as possible because people's sets
will be tuned all over the place on either side of the way your reference
monitor is set up.
Just my take. I use a high-end LCD reference monitor myself (eCinema) and have
only seen OLEDs at NAB and at Editor's Lounge. They are gorgeous.
Steve Hullfish
contributor: www.provideocoalition.com
author: "The Art and Technique of Digital Color Correction"
co-author: "Color Correction for Video: revised edition," "Avid Xpress Pro
Editing Workshop" and "Avid XpressDV On the Spot"
On May 14, 2012, at 7:56 PM, Tom McDonnell wrote:
> >#1- It's the blacks!
>
> Terry does the differences between LCD vs. OLED blacks transfer to a
> variation on the final correction done on both types of monitors? In other
> words does the black level portion of a color correction session depending
> on the monitor used translate to the finished broadcast or projected image?
>
> I guess what I'm asking is does a CC session "black level wise" done on an
> OLED look any better or different than one done on a LCD? Once again try to
> leave out the colorimetry portion of the differences between manufacturers.
> Do you find you have an easier time achieving your desired result?
>
> Tom McDonnell
> Cinematographer/Operator
> Los Angeles, CA
> New Orleans, LA
> 818-675-1501
>
>
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