OLED question and answer


Q: What is OLED?
A: OLED stands for Organic Light Emitting Diode. OLEDs are relatively simple in structure, made up of an electrically active organic material sandwiched between an anode (a electron-releasing electrode) and a cathode (an electron-receiving electrode).
When an electric current runs through the system, the anode sends electrons to the cathode, creating a current through the organic material. This charges the organic material, and when positive and negative charges hit the same molecule, it releases a photon, which we perceive as glowing light.
Q: Is that what LED TV’s we see at consumer electronics stores are?
A: No. LED TVS are actually LCD TVs that use white LED lights as a backlight source. Unlike OLED, the image is still made by shining light through a liquid crystal diode.

Q: So what makes OLED superior to LCD?
A: The reason OLED is a significant improvement over LCD that each sub-pixel of an OLED panel is made up of organic carbon compounds that directly emit red, green or blue light, rather than LCD diodes that selectively block certain wavelengths in full-spectrum light as it passes through a liquid crystal. OLED’s far more efficient display technology allows for a wider color gamut with deep black levels, extremely fast image response, and very wide viewing angles.
Q: Why is largest OLED display available only 15” in size?
A: OLED technology is evolving rapidly. Because the organic material that makes OLEDs work has to be printed directly on a glass substrate, the limitation has always been defect-free panel yield. For example, a 1366x768 display is made up of over 3 million individually printed sub-pixels. Producing consistently defect free panels is required to keep unit costs down. As technology to increase yield improves, larger panel sizes will certainly follow.

Q: How is it possible to achieve 100,000:1 contrast ratio as the spec says for OLED?
A: The contrast limitation with typical LCDs has always been that the backlight source is always on. Therefore, dark pixels are those where the liquid crystals are turned to block light transmission. However, some light always leaks through. So true black is not possible.
With OLED, if the pixel is supposed to be black, then it simply dims instantaneously. This makes it possible for OLED to produce contrast ratios that extend beyond that of the best CRTs.
Q: Early OLED screens had reported issues with the blue organic material aging faster than red or green. Has this been resolved?
A: Yes. The organic compounds used in OLED displays are improving as well and the “blue” problem has been largely mitigated. However, much like early CRT and plasma displays, image retention is an issue for OLED and manufacturers are working toward improving “burn-in” resistance.
Q: What about color accuracy? Do OLED’s produce more accurate colors than LCD’s?
A: OLED’s produce more saturated colors than LCDs. However, the native color gamut of most OLEDs is wider than REC. 709. For professional video monitoring, a 3D lookup table needs to be mapped for a display. A 3D LUT is a three dimensional lattice of output color values used to plot specific colorspace so that accurate color can be achieved. Once this is done, the display can output accurate REC. 709 or other custom colorspaces.

Q: How much does OLED cost compared to LCD?
A: OLEDs are roughly 2-3 times more expensive than LCDs currently. However, as more displays hit the market, OLED prices should begin to plummet, eventually going lower than LCDs within the next 5 years.
Since 2002, TVlogic has been dedicated to developing and manufacturing the highest quality video monitoring systems available for broadcast, production and post production as well as digital signage & multi-viewer applications. As a leading pioneer of broadcast equipment in South Korea, their growth has been accentuated with expanded mass-production systems that consistently achieve higher performance, lower costs and enhanced quality control.

Today, TVlogic is one of the world’s leading broadcast monitor manufacturers. Their unique technology and innovative designs have provided customers in top broadcasting and production facilities around the world with reliable reference grade displays for the most critical viewing applications. TVlogic’s eight monitor lines encompass an ever-growing variety of professional video display requirements.
For more information on TVLogic in the UK please visit www.pyser-sgi.com

Tags: oled | iss043 | tvlogic | lcd | led | contrast ratio | video monitoring | digital signage | multiviewer | N/A
Contributing Author N/A

Article Copyright tv-bay limited. All trademarks recognised.
Reproduction of the content strictly prohibited without written consent.

Related Interviews
  • Pixelution at BVE North 2011

    Pixelution at BVE North 2011

  • Ikegami HQLM-3120W monitor at IBC 2016

    Ikegami HQLM-3120W monitor at IBC 2016

  • Murraypro at IBC2011

    Murraypro at IBC2011

  • Marshall Electronics at IBC2011

    Marshall Electronics at IBC2011

  • Dedolight DLED3 shown at IBC 2018

    Dedolight DLED3 shown at IBC 2018

  • Dedolight show the LED Raptor Bicolor at IBC 2018

    Dedolight show the LED Raptor Bicolor at IBC 2018

  • Rotolight Anova Pro 2 LED at NAB 2018

    Rotolight Anova Pro 2 LED at NAB 2018

  • Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

    Jonathan Harrison interviews Dedo Weigert with the DEDOLIGHT DLED3

  • Force 7 LED LEKO light from BBS at IBC 2017

    Force 7 LED LEKO light from BBS at IBC 2017

  • Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

    Kino Flo Celeb 850 and Freestyle LED lights at IBC 2017

  • FilmGear LED lighting at IBC 2015

    FilmGear LED lighting at IBC 2015

  • LiteGear LED LiteMat at IBC 2015

    LiteGear LED LiteMat at IBC 2015

  • PhotonBeard - LED Redhead - at BVE 2015

    PhotonBeard - LED Redhead - at BVE 2015

  • Zylight LED Fresnel at IBC 2013

    Zylight LED Fresnel at IBC 2013

  • Zylight F8 LED Fresnel at NAB 2013

    Zylight F8 LED Fresnel at NAB 2013

  • Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

    Dedolight Felloni Turbo and Felloni 3 shown at BVE 2018

  • Rotolight Anova Pro 2 shown at BVE 2018

    Rotolight Anova Pro 2 shown at BVE 2018

  • KitPlus filming rig used at NAB 2017

    KitPlus filming rig used at NAB 2017

  • KitPlus filming rig used at BVE 2017

    KitPlus filming rig used at BVE 2017

  • Cirrolite and Kino Flo at BVE 2017

    Cirrolite and Kino Flo at BVE 2017

  • Filming kit review from NAB

    Filming kit review from NAB

  • Kino Flo at NAB 2016

    Kino Flo at NAB 2016

  • Dedolight at NAB 2016

    Dedolight at NAB 2016

  • Cineo HS2 at IBC 2015

    Cineo HS2 at IBC 2015

  • LiteGear at IBC 2015

    LiteGear at IBC 2015

  • Cineo Matchbox at IBC 2015

    Cineo Matchbox at IBC 2015

  • Photon Beard at IBC 2015

    Photon Beard at IBC 2015

  • Zylight at IBC 2015

    Zylight at IBC 2015

  • Dedolight at IBC 2015

    Dedolight at IBC 2015

  • Kino Flo Select at IBC 2015

    Kino Flo Select at IBC 2015

  • Litepanels at BVE 2015

    Litepanels at BVE 2015

  • LCA - Inteca products at BVE 2015

    LCA - Inteca products at BVE 2015

  • LCA - LITEGEAR at BVE 2015

    LCA - LITEGEAR at BVE 2015

  • Rosco at BVE 2015

    Rosco at BVE 2015

  • Photon Beard Platinum Blonde at IBC 2014

    Photon Beard Platinum Blonde at IBC 2014

  • Photon Beard Photon Beam at IBC 2014

    Photon Beard Photon Beam at IBC 2014

  • Zylight Fresnel updates at IBC 2014

    Zylight Fresnel updates at IBC 2014

  • Zylight on BroadcastShow LIVE at IBC 2013

    Zylight on BroadcastShow LIVE at IBC 2013

  • Photon Beard on BroadcastShow LIVE at IBC 2013

    Photon Beard on BroadcastShow LIVE at IBC 2013

  • AC Entertainment Technologies at BVE 2013

    AC Entertainment Technologies at BVE 2013

  • Sonifex at BVE 2012

    Sonifex at BVE 2012

  • Litepanels at BVE 2012

    Litepanels at BVE 2012

  • Jonathan Harrison at BVE North 2011

    Jonathan Harrison at BVE North 2011

  • Litepanels at IBC2011

    Litepanels at IBC2011

  • Gekko at IBC2011

    Gekko at IBC2011

  • Wohler at IBC 2016

    Wohler at IBC 2016

  • IPTV Digital Signage from VITEC at NAB 2017

    IPTV Digital Signage from VITEC at NAB 2017

  • Vitec Digital Signage at NAB 2016

    Vitec Digital Signage at NAB 2016

  • Guntermann and Drunck at NAB 2014

    Guntermann and Drunck at NAB 2014

  • Guntermann and Drunck at BVE 2014

    Guntermann and Drunck at BVE 2014

  • Guntermann and Drunck GmbH at NAB 2013

    Guntermann and Drunck GmbH at NAB 2013

  • Apantac 4k UHD HDMI/DVI Multiviewer with KVM at IBC 2018

    Apantac 4k UHD HDMI/DVI Multiviewer with KVM at IBC 2018

  • Apantac TX# 64x16 Modular Multiviewer at IBC 2018

    Apantac TX# 64x16 Modular Multiviewer at IBC 2018

  • Apantac Mi Multiviewer Platform at IBC 2017

    Apantac Mi Multiviewer Platform at IBC 2017

  • Apantac Multiviewer and KVM at IBC 2017

    Apantac Multiviewer and KVM at IBC 2017

  • Apantac T Sharp # Multi-Format Multiviewer at IBC 2017

    Apantac T Sharp # Multi-Format Multiviewer at IBC 2017

  • MX32 Multiviewer from Apantac at NAB 2017

    MX32 Multiviewer from Apantac at NAB 2017

  • Mi16 low cost Multiviewer from Apantac at NAB 2017

    Mi16 low cost Multiviewer from Apantac at NAB 2017

  • openGear Mi9 Multiviewer from Apantac at NAB 2017

    openGear Mi9 Multiviewer from Apantac at NAB 2017

  • Apantac Multiviewer at NAB 2016

    Apantac Multiviewer at NAB 2016

  • Volicon Multiviewer at NAB 2016

    Volicon Multiviewer at NAB 2016

  • APANTAC T# Multiviewer at NAB 2015

    APANTAC T# Multiviewer at NAB 2015

  • APANTAC IP and SDI Multiviewer at NAB 2015

    APANTAC IP and SDI Multiviewer at NAB 2015

  • Cinegy: Multiviewer at NAB 2013

    Cinegy: Multiviewer at NAB 2013

  • Apantac Mi-16 at IBC 2016

    Apantac Mi-16 at IBC 2016

  • Apantac T-Sharp at IBC 2016

    Apantac T-Sharp at IBC 2016

  • Dejero at IBC 2015

    Dejero at IBC 2015

  • Grass Valley at BVE 2015

    Grass Valley at BVE 2015

  • Volicon Products at IBC 2014

    Volicon Products at IBC 2014

  • Volicon at IBC 2014

    Volicon at IBC 2014

  • Miranda on BroadcastShow LIVE at IBC 2013

    Miranda on BroadcastShow LIVE at IBC 2013

  • Miranda at NAB 2012

    Miranda at NAB 2012

  • Broadcast Pix at NAB 2012

    Broadcast Pix at NAB 2012

  • Cinegy at NAB 2012

    Cinegy at NAB 2012

  • Datavideo at IBC2011

    Datavideo at IBC2011

  • Hamlet at IBC2011

    Hamlet at IBC2011

  • Oxygen DCT at IBC2011

    Oxygen DCT at IBC2011


Related Shows
  • LED Lighting with Den Lennie at BVE

    LED Lighting with Den Lennie at BVE


Articles
Using Wireless Transmission
Jeremy Benning Wireless acquisition is a staple of live sports, entertainment and reality shows where cable free capture permits shots not previously possible, for health and safety reasons, and gives the camera-operator greater artistic licence to roam. The same is increasingly true of narrative drama where cinematographers are keen to work handheld or Steadicam where that helps tell the story. Any equipment which frees their movement and time by being lighter, easier to use and reliable in performance is going to tick a lot of boxes.
Tags: iss134 | wireless | 4k | transmission | Jeremy Benning
Contributing Author Jeremy Benning Click to read or download PDF
An Epiphany Moment
Peter Savage 2 I had been negotiating the sale of my company and had reached the really hard end of the bargain. We were close to agreeing the final sum after a lot of too-much-give-and-not-enough-take negotiation. The solicitors were calling me, keen for a deal. It had come down to one sticking point and, in my hard ball “I am the Wolf of Wall Street” guise, I wasn’t going to let it go. It would make a value difference of 1.5% on the total outcome. Not much, you might think, but I had already nearly fallen out with the solicitors over their fees and I was giving my advisors an extremely hard time because the corporate adviser couldn’t see how I had already given more than an inch and the buyers were taking more than a mile. I was not going to let them win.
Tags: iss134 | azule | finance | Peter Savage 2
Contributing Author Peter Savage 2 Click to read or download PDF
Accelerated Workflows with eGPU
Mike Griggs From the UK’s National Trust to magazine publishers to manufacturers, digital content creator Mike Griggs has a wide and varied portfolio of clients for whom he creates 3D art, motion graphics and multimedia exhibits. A typical day might involve sampling birdsong near Virginia Woolf’s country estate or creating 3D animations for VR. To keep on top of these demands, Griggs wanted to take the full power of the GPU computing revolution on the road.
Tags: iss134 | sonnet | egpu | amd | post production | editing | Mike Griggs
Contributing Author Mike Griggs Click to read or download PDF
University and Mental Health
Rhiannon Jenkins University study and mental health has been in the media quite a bit over the last year, and I’m sure there are many people wondering what is going on? The issues are complex, and I suppose the focus of employability off the back of a degree course has raised the stress stakes for a lot of young people. I’m only qualified to talk about this from my perspective, and my story began when I joined a course not knowing I had a mental health condition.
Tags: iss134 | portsmouth uni | mental health | student | tvfutures | Rhiannon Jenkins
Contributing Author Rhiannon Jenkins Click to read or download PDF
Protecting the continuity of transmission
Lorna Garrett Your viewers love you. You consistently bring them their preferred channels 24/7. They’ve come to rely on you for their viewing pleasure. They never miss cheering on their beloved sports teams. They’re the envy of their friends as they watch live concerts of their favourite bands. They gather the family around and catch up on their must-see shows. They don’t have a bad word to say about you.
Tags: iss134 | garland | gpl | streaming | artel | disaster recovery | Lorna Garrett
Contributing Author Lorna Garrett Click to read or download PDF