SPEC 01
Klein K10-A
High-speed colorimeter with the sensitivity to read accurately near black — where OLED lives and cheap meters give up.
Calibration for every displayyou care about.
Every display has a story it was designed to tell. I use the same instruments and standards found in mastering suites to make sure yours can tell it. Find your setup below and request the right quote.
SIGNAL PATH · SOURCE → PROCESSOR → LENS → SCREEN
The six service lines
N0.01
OLED Calibration
Starting at $495
Your OLED was engineered for perfect blacks and infinite contrast. I tune it until it actually delivers them — accurate white point, clean grayscale, full color volume — on every input you use.
- White point & grayscale tracking
- Color management system tuning
- Per-input optimization
N0.02
Projector Calibration
Starting at $495
A projector is only as accurate as the screen and room it lives with. From single-chip DLP to tri-laser flagships, I calibrate to your screen's specific color targets and compensate for how your lamp or laser ages.
- Screen-specific color targets
- Lamp & laser aging compensation
- Multi-mode profiles
N0.03
HDR & Dolby Vision Optimization
Add-on · $99
HDR10, HDR10+, and Dolby Vision, tuned to your display's real peak luminance — so highlights land exactly where the mastering engineer set them.
- EOTF tracking to spec
- Tone-mapping verification
- Dynamic metadata handling
N0.04
Gaming Calibration
Add-on · $55
Accuracy without input lag. I calibrate your game mode in both SDR and HDR, then verify the signal path — VRR, 4K120, console and PC — so nothing between you and the frame is guessing.
- Game-mode color accuracy
- VRR & 4K120 verification
- Console & PC optimization
N0.05
Home Theater Tuning
A dedicated theater isn't a display — it's a system. I dial in projector, processor, and ambient light together, so the room performs as one instrument.
- Source device alignment
- Bias light recommendations
- Reference seating evaluation
N0.06
Commercial Calibration
Color-critical environments where the picture is the product: editing suites, broadcast monitors, screening rooms, conference displays, and digital signage — matched across displays and documented for compliance.
- Industry-standard targets
- Multi-display matching
- Compliance reporting
The picture is onlyas good as the math.
Tone mapping, scaling, and color conversion all happen before the light ever hits your screen. Done poorly, they clip highlights and shift color no calibration can recover — which is why the processor belongs inside the measured chain, not bolted on after.
When the chain includes a madVR Envy, I profile and calibrate it as part of the same system — so every frame is corrected source to screen, against your room's real targets.
- Tone mapping
- HDR mapped to your display's real peak brightness, so highlights hold detail instead of clipping to white.
- Scaling
- Every source resolution resolved to your native panel with sharpness and artifact control tuned to the material.
- Color management
- 3D LUT correction profiled to the projector's measured response, applied upstream of the image.
- Profiled & calibrated
- The Envy measured and dialed in as one unit with the projector and screen — source to screen.
The screen is halfthe picture.
A projector can only reproduce what the surface in front of it gives back. Gain, ambient-light rejection, and the material's own color shift all land in the final measurement — which is why I calibrate to your screen's specific targets rather than a generic profile.
As an authorized Stewart Filmscreen dealer, I can spec and supply the right material for your room and throw distance, then calibrate the projector against it as one system.
- Gain & viewing cone
- Matched to your throw distance and seating spread, so brightness stays even edge to edge.
- Ambient light
- ALR material where the room fights back; matte white where it doesn't need to.
- Color shift
- The screen's own spectral response measured and corrected for in the projector's targets.
- Aspect & masking
- Fixed-frame, tensioned, or masked formats specified around how you actually watch.
Five passes to reference.
SCROLL — WATCH THE MEASUREMENT LOCK TO STANDARD.
CALMAN SESSION · REC.709 · D65
PASS 01/05 · CONSULT
GRAYSCALE ERROR
ΔE 0.8
TARGET ΔE < 1.0
REFERENCE LOCK
- PASS 01/05
01 — Consult
We talk through your displays, your room, your sources, and how you actually watch. I recommend the right service and quote it plainly — no upsell, no mystery line items.
- PASS 02/05
02 — Baseline measure
Before I touch a setting, I measure the display exactly as it is — grayscale, gamut, gamma, EOTF — and record where it drifts from reference. This is the "before" in your report.
- PASS 03/05
03 — Calibrate
Parameter by parameter, I bring the display to standard: brightness, color, grayscale, gamma, color gamut, HDR — measured against ISF reference patterns, not judged by eye.
- PASS 04/05
04 — Verify
Then I measure everything again. Every reading has to land at reference — not near it, at it. If a value won't hold, I keep working until it does.
- PASS 05/05
05 — Report
You receive a detailed before/after measurement report showing exactly what changed and where your display now stands. Every claim I make ends up in writing.
Instruments, not opinions.
Calibration is only as trustworthy as the meter doing the measuring. This is the kit I bring to every job.
SPEC 02
JETI Spectraval 1511
Laboratory-grade spectroradiometer that profiles your display's actual spectral output — the reference every other reading is corrected against.
SPEC 03
Calman Ultimate
The professional calibration software used in Hollywood mastering and post-production facilities, driving and logging every measurement.
SPEC 04
ISF Reference Test Patterns
Signal-accurate test material from the Imaging Science Foundation — so the display is judged against the standard, not a guess at it.
Not sure whichservice fits?
Tell me about your setup — displays, room, how you watch — and I'll recommend the right approach with a transparent quote.