NEW YORK— I just finished working on
the USA Network series “Royal Pains,” and
one of my roles involved doing coloring
for the DP. This requires a very accurate
I’ve known that OLED monitors were the
future of the business for some time, but I
didn’t think they were something I’d be using
on-the-job anytime soon until I learned
that Sony had shown models at the 2011
Once LCD monitors began to replace
CRTs, problems crept into the workflow. I’d
start an assignment by taking my display to
the post house and matching it to what they
had. No matter how close we got in matching,
some of the dailies didn’t look right.
This can be very frustrating. If the
color doesn’t look as it should, then my
monitor setup would be questioned. The
reality is that everyone has a different approach
to coloring. That’s why I don’t call
it “color science,” I call it “color scientology.”
There’s also human error to contend
with—such as not applying the right configuration
data list settings. This is a major
effort, but with LCDs it has always been an
inescapable part of the job—that is until
Sony’s OLED technology came along.
NEW TOOL FOR CRITICAL VIEWING
Using Sony’s 25-inch BVM-F250 for color
evaluation on “Royal Pains” ended the “back-and-
forth” routine that’s been inherent in
working with LCD monitors. I took the new
monitor to the post house and had their
chief engineer bench test it with the industry-
standard Klein color spectrometer.
We found that right out of the box, the
standard D65 preset on the Sony OLED
With this OLED technology, if the dailies
don’t look right from the start, we
now know that we can take the accuracy
of my on-set viewing out of the equation
and get down to finding the real problem.
The Sony OLED monitor has proven
to be amazingly color accurate. In most
post houses, it’s hard to find anything that
looks nearly as good. It’s truly impressive
to see a flat panel monitor with true
blacks. Sony’s 10-bit panel and wide color
space gamut is the reason for this.
LOOKS GREAT IN ALL CONDITIONS
Another feature of the OLED monitor
is how good it is different lighting environments.
Lots of monitors provide good
pictures in dark, controlled
production room settings, but
what about when you take
them into the real world?
How this translates to the
field is obvious. We’ll spend
four days on stage, then four
on location. We do have a
blackout tent, but you can’t
always use that. With an OLED,
monitor, this really isn’t an issue
anymore. You’re able to
achieve consistency and maintain
continuity, regardless of
the viewing environment.
I believe that Sony’s OLED
technology is the new “gold
standard.” These monitors aren’t just as good
as CRTs; they’re better. When I put OLED
and CRT displays side-by-side, I’m amazed at
what I was missing before and didn’t know
it. In my experience, OLED monitors set a
new and higher benchmark.
Lewis Rothenberg has been involved
in television production and post work
for the past 33 years. He may be contacted
For additional information, contact
Sony at 201-930-9000 or visit www.sony.com/professional.