Hi, thank you so much for your video! I wanted to ask if it’s normal that we don’t have the same information on the software page? My screen automatically chooses Calibration 1 to store the calibration information. Could this be due to the monitor model or the calibration device?
Hey Jorel, by default LG Calibration Studio always selects the Calibration slot (Calibration Picture Mode inside the OSD on the monitor) but the drop down menu should be accessible and not be greyed out. If this should however be the case it could be possible that your specific model only allows for the calibration slot to be calibrated. As of now the software doesn't apply updates automatically, so I would start with checking if there is a newer version available at the LG website, if so deinstall the current version, download the new one and install it and try again. If this doesn't solve the issue for you and you are dependent on more than one calibrated setup I would suggest sticking with the software providing by your colorimeter. For instance I only use the LG Calibration Studio due to the fact that I can use my monitor as a reference display without it being connected to a pc or laptop but you could also calibrate for example via Calibrite PROFILER software which lets you choose a specific picture mode on the monitor itself beforehand and then during calibration adjusts picture generated by the graphics card to closely match the target gamut, gamma and luminance by solely creating the display profile to use in accordance with the picture mode selected. However, keep in mind that whenever you use software only calibration to never fiddle with the settings inside the monitor otherwise you are not color accurate anymore (to be fair this can also happen with the calibrated modes when using LG Calibration Studio but most of the picture settings are greyed out then) ;) Hope this helps and I could propose another solution. Again you don't have to rely on LG Calibration Studio for calibration but never install more than one software for calibration otherwise there could be cross solution or other problems could become apparent in ColorSync.
@@stefanmaass7053 Alright, thank you for this information! I have one more question: Have you tried comparing the calibration results between LG's software and Display Calibration? If so, did you notice any differences? I don’t have a point of comparison myself. I used the Color Data Spyder 5 Express and got a Delta E of 0.68, which is excellent. I’m using the LG UP850 N-W monitor, and I performed a calibration in Rec. 709 gamma 2.4.
@@stefanmaass7053 I just realized I actually have a lot of questions to ask you… I had already seen some videos on your channel about gamma shift. Basically, I’m working with two screens: a MacBook Pro connected to my LG monitor (calibrated in Rec. 709 gamma 2.4 at 120 nits). Here’s my question: Since I’m connected via USB-C to my MacBook Pro, should I still check the box for Mac colors when calibrating my monitor? I know that if I export with the Rec. 709 gamma 2.4 tag, QuickTime will read the profile in (1-2-1), which will give me incorrect colors when viewing on my MacBook Pro screen. However, it will display correctly on my LG monitor. So, the main question is: How can I standardize my workflow to ensure consistent colors everywhere? What would you recommend for working both with and without a reference monitor, especially when I’m traveling? I know that the output tag has a significant influence on files in QuickTime, but not when they’re played with VLC or other players. How can I get out of this never-ending mess?
I just realized I actually have a lot of questions to ask you… I had already seen some videos on your channel about gamma shift. Basically, I’m working with two screens: a MacBook Pro connected to my LG monitor (calibrated in Rec. 709 gamma 2.4 at 120 nits). Here’s my question: Since I’m connected via USB-C to my MacBook Pro, should I still check the box for Mac colors when calibrating my monitor? I know that if I export with the Rec. 709 gamma 2.4 tag, QuickTime will read the profile in (1-2-1), which will give me incorrect colors when viewing on my MacBook Pro screen. However, it will display correctly on my LG monitor. So, the main question is: How can I standardize my workflow to ensure consistent colors everywhere? What would you recommend for working both with and without a reference monitor, especially when I’m traveling? I know that the output tag has a significant influence on files in QuickTime, but not when they’re played with VLC or other players. How can I get out of this never-ending mess?
That's some great questions and almost all of them I've already covered in my past videos on the dubbed "Gamma Shift" on Mac OS, DaVinci Resolve Color Management and how to setup your monitor or XDR Display for proper (Rec 709) monitoring. When reading your lines I find my "younger" self in it; going further down the rabbit hole of render engines, non color managed apps, viewing environments etc. - keep going to question those things! Your struggles and curiosity is why in the first place I created those mini tutorials and guides :) The hard truth is: you won't be able to cater for all the variables you are confronted with along the way until final delivery such as changing environments of the consumer/user watching your content, configuration of their respective viewing device or if the video hosting platform is encoding those NCLC tags (e.g. 1-1-1 vs. 1-2-1) the right way / intended way. I try to answer your questions, even though, they only loosely relate to this video's topic : you mention the gamma shift issue becoming apparent when viewing the exact same video on QuickTime but screening the image on two different monitors. On your Macbook Pro's display the contrast will probably be off in comparison to the external monitor. So my guess would be that your Macbook's XDR Display is set to Display P3 color space which has an approx. 2.2 Gamma curve such as sRGB whereas your LG monitor is calibrated to Rec 709 Gamma 2.4. This could explain a mismatch for saturation, luminance and contrast. Try using the BT709-BT1886 reference mode on your MacBook Pro and check if the images (better) align now. Watching your rendered file in different video players will be the be like giving the go-ahead for creating vastly different viewing environments. Take the VLC player for example. Let's say you mastered your timeline for Rec 709 Gamma 2.2, did the proper OOTF (CST) in DVR and also tagged the file correctly. Playing this file in VLC will give you a "wrong" image from what you intended because VLC enforces Gamma 2.4 no matter what. This leads us to NCLC tags, their usage and the first hurdle we have to take. Up until this point we can make sure that the image we've created inside DaVinci Resolve is displayed correctly on our calibrated devices, yet the metatags and "how they are read and interpreted" could be seen as language barrier we face or popular telephone game back when we were kids. Now we are giving power to the hosting platform or media player how the file along with its tags will be handled. In this case I only have one single option: do everything on my end to maintain a proper color management workflow so I know how the image should look like but accept that it will be displayed somewhat different where the media player is just one instance, just imaging YT applying a different transfer function and then users viewing this already transformed footage on monitors configured by themselves according to "feel" e.g. shifting the white balance, tint, luminance, saturation, contrast etc. Regarding you question on a mobile / remote workflow I would suggest using Rec 709A as my Output Color Space, making sure "Use Mac display profiles for viewers" is toggled in the general preferences in DVR + using Apple's BT709 reference mode on your MacBook Pro. Sorry for the massive amount of lines and words, nevertheless, they don't give you the sought after "easy fix".
Hi, thank you so much for your video! I wanted to ask if it’s normal that we don’t have the same information on the software page? My screen automatically chooses Calibration 1 to store the calibration information. Could this be due to the monitor model or the calibration device?
Hey Jorel,
by default LG Calibration Studio always selects the Calibration slot (Calibration Picture Mode inside the OSD on the monitor) but the drop down menu should be accessible and not be greyed out. If this should however be the case it could be possible that your specific model only allows for the calibration slot to be calibrated. As of now the software doesn't apply updates automatically, so I would start with checking if there is a newer version available at the LG website, if so deinstall the current version, download the new one and install it and try again.
If this doesn't solve the issue for you and you are dependent on more than one calibrated setup I would suggest sticking with the software providing by your colorimeter. For instance I only use the LG Calibration Studio due to the fact that I can use my monitor as a reference display without it being connected to a pc or laptop but you could also calibrate for example via Calibrite PROFILER software which lets you choose a specific picture mode on the monitor itself beforehand and then during calibration adjusts picture generated by the graphics card to closely match the target gamut, gamma and luminance by solely creating the display profile to use in accordance with the picture mode selected. However, keep in mind that whenever you use software only calibration to never fiddle with the settings inside the monitor otherwise you are not color accurate anymore (to be fair this can also happen with the calibrated modes when using LG Calibration Studio but most of the picture settings are greyed out then) ;) Hope this helps and I could propose another solution.
Again you don't have to rely on LG Calibration Studio for calibration but never install more than one software for calibration otherwise there could be cross solution or other problems could become apparent in ColorSync.
@@stefanmaass7053 Alright, thank you for this information! I have one more question: Have you tried comparing the calibration results between LG's software and Display Calibration? If so, did you notice any differences? I don’t have a point of comparison myself. I used the Color Data Spyder 5 Express and got a Delta E of 0.68, which is excellent. I’m using the LG UP850 N-W monitor, and I performed a calibration in Rec. 709 gamma 2.4.
@@stefanmaass7053 I just realized I actually have a lot of questions to ask you… I had already seen some videos on your channel about gamma shift. Basically, I’m working with two screens: a MacBook Pro connected to my LG monitor (calibrated in Rec. 709 gamma 2.4 at 120 nits).
Here’s my question: Since I’m connected via USB-C to my MacBook Pro, should I still check the box for Mac colors when calibrating my monitor? I know that if I export with the Rec. 709 gamma 2.4 tag, QuickTime will read the profile in (1-2-1), which will give me incorrect colors when viewing on my MacBook Pro screen. However, it will display correctly on my LG monitor.
So, the main question is: How can I standardize my workflow to ensure consistent colors everywhere? What would you recommend for working both with and without a reference monitor, especially when I’m traveling?
I know that the output tag has a significant influence on files in QuickTime, but not when they’re played with VLC or other players. How can I get out of this never-ending mess?
I just realized I actually have a lot of questions to ask you… I had already seen some videos on your channel about gamma shift. Basically, I’m working with two screens: a MacBook Pro connected to my LG monitor (calibrated in Rec. 709 gamma 2.4 at 120 nits).
Here’s my question: Since I’m connected via USB-C to my MacBook Pro, should I still check the box for Mac colors when calibrating my monitor? I know that if I export with the Rec. 709 gamma 2.4 tag, QuickTime will read the profile in (1-2-1), which will give me incorrect colors when viewing on my MacBook Pro screen. However, it will display correctly on my LG monitor.
So, the main question is: How can I standardize my workflow to ensure consistent colors everywhere? What would you recommend for working both with and without a reference monitor, especially when I’m traveling?
I know that the output tag has a significant influence on files in QuickTime, but not when they’re played with VLC or other players. How can I get out of this never-ending mess?
That's some great questions and almost all of them I've already covered in my past videos on the dubbed "Gamma Shift" on Mac OS, DaVinci Resolve Color Management and how to setup your monitor or XDR Display for proper (Rec 709) monitoring. When reading your lines I find my "younger" self in it; going further down the rabbit hole of render engines, non color managed apps, viewing environments etc. - keep going to question those things! Your struggles and curiosity is why in the first place I created those mini tutorials and guides :)
The hard truth is: you won't be able to cater for all the variables you are confronted with along the way until final delivery such as changing environments of the consumer/user watching your content, configuration of their respective viewing device or if the video hosting platform is encoding those NCLC tags (e.g. 1-1-1 vs. 1-2-1) the right way / intended way.
I try to answer your questions, even though, they only loosely relate to this video's topic : you mention the gamma shift issue becoming apparent when viewing the exact same video on QuickTime but screening the image on two different monitors. On your Macbook Pro's display the contrast will probably be off in comparison to the external monitor. So my guess would be that your Macbook's XDR Display is set to Display P3 color space which has an approx. 2.2 Gamma curve such as sRGB whereas your LG monitor is calibrated to Rec 709 Gamma 2.4. This could explain a mismatch for saturation, luminance and contrast. Try using the BT709-BT1886 reference mode on your MacBook Pro and check if the images (better) align now.
Watching your rendered file in different video players will be the be like giving the go-ahead for creating vastly different viewing environments. Take the VLC player for example. Let's say you mastered your timeline for Rec 709 Gamma 2.2, did the proper OOTF (CST) in DVR and also tagged the file correctly. Playing this file in VLC will give you a "wrong" image from what you intended because VLC enforces Gamma 2.4 no matter what. This leads us to NCLC tags, their usage and the first hurdle we have to take. Up until this point we can make sure that the image we've created inside DaVinci Resolve is displayed correctly on our calibrated devices, yet the metatags and "how they are read and interpreted" could be seen as language barrier we face or popular telephone game back when we were kids. Now we are giving power to the hosting platform or media player how the file along with its tags will be handled. In this case I only have one single option: do everything on my end to maintain a proper color management workflow so I know how the image should look like but accept that it will be displayed somewhat different where the media player is just one instance, just imaging YT applying a different transfer function and then users viewing this already transformed footage on monitors configured by themselves according to "feel" e.g. shifting the white balance, tint, luminance, saturation, contrast etc.
Regarding you question on a mobile / remote workflow I would suggest using Rec 709A as my Output Color Space, making sure "Use Mac display profiles for viewers" is toggled in the general preferences in DVR + using Apple's BT709 reference mode on your MacBook Pro.
Sorry for the massive amount of lines and words, nevertheless, they don't give you the sought after "easy fix".